There’s a really good article on “The Economics of Global Warming” in Newsweek:

The most likely consequences of climate change will be severe impacts on food production in the developing world. We can worry about urban heat waves, polar bears, and forest fires, but the worst effects are almost certainly going to be on food production in the poor countries, where half or more of the population depends on growing its own food.

Estimates of lost world product due to climate change are moderate because the poor have so little to lose. More than a billion people, maybe 2 billion, are estimated to live on less than the equivalent of $2 per day. If a billion of those poorest people lost half their income, it would be an overwhelming tragedy, a true catastrophe, worse than all the earthquakes, floods, tsunamis, landslides, and fires of the past decade happening every year. But those billion people together would lose only $365 billion per year. That is less than 1 percent of world income! They have so little to begin with that what they can lose doesn’t amount to much of a statistic. But they can lose tragically.

It’s not a long article, so click here to read the whole thing.

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 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.

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!

catherine of aragon monologue

Queen Katherine in Shakespeare’s Henry VIII is Catherine of Aragon. You can find good monologue material here and here.

agusto boal’s influences

You really have to consider Paulo Friere as Augusto Boal’s number one influence. Boal’s works also contain significant references to Marx, Hegel, Aristotle, Brecht, and Shakespeare. He was, of course, also greatly influenced by all of the many people with whom he interacted during his lifetime.

teacher help for shakespeare hamlet obituaries

I love the idea of having students write obituaries for Shakespeare’s characters. They could also write classified ads, advice column requests, and news stories. I’ve recently read blog posts where characters from Shakespeare have written Letters to Santa and New Year’s Resolutions, and these seem like good writing assignments for students as well.

why is macbeth so successful

Because he kills everyone who might possibly get in his way. But is he ultimately successful? See below.

what does macbeth have to look forward to in his old age?

Nothing. He’s dead.

Even if he weren’t, life would be bleak. His wife would be gone, and he’d be out of power. And as a former tyrant, he’d be made a laughing stock among the people. His decision to attack Macduff after all of the prophecies have come true may seem reckless to us, but he may not feel that he has a choice.

hidden messages in shakespeare “i … wrote this”

People looking for hidden “I wrote this” messages in Shakespeare are generally looking to prove that the plays were written by someone else. Shakespeare would have had little reason to hide such a message. But take a look at this page from a late Hamlet quarto, and see if you can find Shakespeare’s authorship message (hint: look at the writing below “Hamlet, Prince of Denmark”).

slings and arrows the tempest

None of the three seasons of Slings & Arrows centered around The Tempest, but the very first scene of the series does. Geoffrey is directing this very play before the events that will bring him back to the New Burbage. I often tell people who may be interested in the show to watch this scene and the opening credits, and if they’re not hooked by then, there is no need to go on.

ideas for teaching macbeth to 10 year olds

With this age group, I recommend doing activities to introduce the plot, characters, and themes of the play before they read the actual text. Start here, and if you like what you read, check out my doctoral dissertation, which was on this exact topic. You should also check out the Cambridge School Shakespeare Macbeth, which has a lot of great activities that can be adapted to this age group, and the Shakespeare Set Free book that includes Macbeth for even more great ideas.

which war occured during shakespeare’s life

Probably the most significant war Shakespeare lived through was the undeclared Anglo-Spanish War. In the late 16th century, Spanish King Phillip II was gathering an international coalition of Catholic forces to launch an invasion of England and overthrow Queen Elizabeth I. The Spanish Armada was famously defeated by the English navy in 1588. This victory launched a new wave of patriotic fervor among the English, and a popular trend of writing plays about English kings just as Shakespeare was beginning his career as a playwright.

was shakespeare a tudor

No. Tudor was the surname of the English royal family from 1485 to 1603. The man we refer to as King Henry VIII was born Henry Tudor, Queen Elizabeth I was Elizabeth Tudor, etc. Margaret Tudor, sister of Henry VIII, married James Stuart (King James IV of Scotland) and their offspring continued the Stuart line in Scotland. Eventually, the Stuarts (in the person of James VI of Scotland) ascended to the English throne as well. When we speak of the Tudors and the Stuarts, then, we are not referring to titles, but to actual family names.

So, Shakespeare wasn’t a Tudor; he was a Shakespeare. But he was born and raised under Tudor rule. He lived the rest of his life under Stuart rule.

oikos polis anthony and cleopatra

I was taken aback by this one.

In this post, I discussed how ancient Greek playwrights would often show characters torn between their solemn duties to their oikos (family) and their polis (state), and how this is also a recurring theme in the television series 24. I also discussed how both 24 and ancient Greek tragedy share a unity of place, and used Antony and Cleopatra as a counter-example to demonstrate that Shakespeare did not have to conform to this unity.

What, then, was this search looking for? I don’t really think that oikos vs. polis is a theme in Antony and Cleopatra. It seems to me that the interests of family and state are aligned, and what the title characters are really balancing are those interests vs. their own passions.

king of england who did not have y chromosomes

The technical term for a king with no Y chromosomes is a “queen.” Notable queens of England have included a couple of Elizabeths, a couple of Marys, an Anne, and a Victoria (plus others, depending on what you want to count).

Almost by definition, a man has an X chromosome and a Y chromosome, and a woman has two X chromosomes. I say almost, because it is possible for there to be variations, but I am not familiar with any kings of England with such a condition.

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

prisoner’s dilemma lear

list of tv influenced by shakespeare

how to write a tudor invitation

robert duvall shakespeare

what does evil teach king lear?

shakespeare visual art

vienna`s english theatre macbeth zusammenfassung

genghis the teacher

social justice theatre

teaching the tempest using utube

humor in othello

comment of fifth act of macbeth from line 10 to 25

This blog just reached 40,000 hits, the week after celebrating its third birthday. It’s time for the cake and SiteMeter counter!

The 40,000th hit came in at 4:47pm on Thursday, January 7, 2010, via a Google search for “Totus Mundus Agit Histrionem,” the Latin translation of “All the world’s a stage.” As if to prove the point, the hit came in from Baden-Wurttemberg, Germany.

At this point in time, the blog’s Technorati Authority is 112. There are 636 posts (including this one) and 1,904 comments.

Once again, many thanks to all who have visited, and continue to visit.

Fans of this blog may also appreciate a link I found via the Shakespeare Geek. It’s a script of The Big Lebowski as it might have been written by Shakespeare. It’s extremely well done, and should be greatly enjoyed by fans of both the film and the playwright. It’s very appropriately called The Two Gentlemen of Lebowski.

Enjoy!

In the performing arts, there is often a distinction made between creative artists and interpretive artists. In the theatre, the creative artist is the playwright who created the original work. Interpretive artists include actors, directors, designers etc. who take these creative works and interpret them for the stage. The word “creative” here is used in its narrowest sense; clearly a great deal of creativity is needed to be an interpretive artist.

How wonderful, then, to encounter a company like Propeller, that under the direction of Edward Hall is able to stage vibrant, original works that not only remain faithful to the original texts, but illuminate them. Their brilliance is not only that they go beyond the play, but also that they bring the play along with them. They are interpretive artists and creative artists at the same time. I had the opportunity to see their productions of The Taming of the Shrew and Twelfth Night at the Brooklyn Academy of Music two years ago, so when I heard that they were returning to BAM with their production of The Merchant of Venice I knew not to miss it. I went in with high expectations, and they were well exceeded.

The entire production is set inside a prison. Two levels of prison cells loom large as they stretch around the perimeter of the stage. The all-male cast is in drab uniforms and prison tats. The Christians and Jews congregate in different cliques in the yard. And when Antonio crosses that line to borrow money from Shylock because of his love for Bassanio, the concept is so strong that you might as well be watching an episode of HBO’s Oz. But these elements are in the play already; the concept brings them to the fore.

The prison connection is a bit more abstract in the Belmont scenes where Bassanio and his rivals must choose their caskets, though these scenes are the comic highlight of the production. Portia is a prisoner in a different sense, in that she is not free to marry who she chooses, and so the setting for these scenes works more on the symbolic level. But Shakespeare’s play does contain a sharp contrast between the realistic world of commerce in Venice and the fairy tale world of Belmont, a contrast that the production concept, once again, illuminates. Once Bassanio chooses the correct casket, Portia removes her artificial feminized clothing, and joins the rest of the prisoners in the yard.

Men play female roles in female clothing, but with no wigs. This was also true of the earlier two productions I saw, but in this case there was an extra layer to the choice, as it left the impression that all of the characters were biologically male while some had female gender identities. Not a word of the original Shakespeare is changed to accommodate the sex of the characters nor the prison setting, so the audience is left to absorb these elements conceptually while listening to the dialogue. When Portia and Nerissa arrive dressed as young men, the conceit of a man playing a woman playing a man requires a bit of extra audience attentiveness, but it works well.

The cruelty of the prison setting allowed the production to explore what the play has to say about the cruelty of society and man’s inhumanity to man, and it did so by playing with our sympathies. When Antonio asks for money from Shylock in this production, he is an uncouth thug trying to bully the prison loanshark. But as sympathetic of a character as the original Antonio is, that’s an undercurrent of the original play. When Shylock delivers his most humanizing speech in this production, he does so while committing a violent prison atrocity. But if you read the whole scene, that’s faithful to the original play as well. In the end, Antonio wins his case in this production, not just because the judge is really Portia in disguise, but also because he is able to rile up an angry mob against the Jew.

And, in a very real sense, that’s part of the original play, too.

From A Midsummer Night’s Dream:

And thorough this distemperature we see
The seasons alter: hoary-headed frosts
Fall in the fresh lap of the crimson rose,
And on old Hiems’ thin and icy crown
An odorous chaplet of sweet summer buds
Is, as in mockery, set. The spring, the summer,
The childing autumn, angry winter, change
Their wonted liveries, and the mazed world,
By their increase, now knows not which is which.
And this same progeny of evil comes
From our debate, from our dissension:
We are their parents and original.

Shift around the letters, and it becomes:

A sharp column in the Washington Post this month, wherein faded global warming is reframed in some depth as a hidden security issue, hit home.

In this column, he described three harsh ways that these few overwhelming horrors can render war: rampant scarcity from hotter, drier lands; renewed open-handed abundance; and fresh issues of common sovereignty, making two geopolitical zones of tension.

We should take this solemn threat to our security seriously, or we’re finished.

From Twelfth Night:

O mistress mine, where are you roaming?
O, stay and hear; your true love’s coming,
That can sing both high and low:
Trip no further, pretty sweeting;
Journeys end in lovers meeting,
Every wise man’s son doth know.

Shift around the letters, and it becomes:

Emerging wireless ads strut hotshot-emeritus Guido Daniele’s groovy hand-painting art from nations yon where you enjoy non-normative service, whether Egypt’s low runes or China’s worthy embankment.

More hand-painting ads here!

I’ve done this feature before, but this is the first of what I hope will be a series of weekly opportunities to check in on what searches people do 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.

when queen elizabeth died what
happened to king iago in scottlandOnly one reigning Queen Elizabeth of England has ever died, so I’ll assume you are asking about Elizabeth I. When she died in 1603, the crown was inherited by King James VI of Scotland, who then became King James I of England as well. This united the two kingdoms, and today we even refer to the nation as the United Kingdom.

Iago is a fictional character in Shakespeare’s Othello. There was also a 7th century Welsh King by that name.

obama shakespeareI’m not sure what you’re looking for, but I’m not surprised it brought you here. May I interest you in an anagram?

university teachers genghis khanAnd you thought the midterm was tough.

is teaching shakespeare good?Yes.

genghis khan gameHow come you always get to be Genghis?

wife of henry 8th that was ugliest women aliveAh, you must be thinking of Anne of Cleves, though that may be a bit harsh. Henry had arranged to marry her sight unseen so that he could form a political alliance with her family. But before he agreed to marry her, he sent Hans Holbein the Younger, the greatest portrait artist of his day, to go and paint her. When he returned, as the story goes, Henry liked what he saw and agreed to the marriage. Unfortunately, Henry didn’t realize he was looking at a picture painted by the greatest portrait artist of his day. When he saw the real deal, he was less pleased. The marriage was short, and (fortunately for Anne) ended in divorce.

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

book: bush tragedy and Falstaffwhy was shakespeare so successful riddle

how did shakespeare change history

letters to genghis khan from family

social justice of gilligan’s island

a good headline for a shakespeare play

From Henry IV, Part Two:

Come hither, Harry: sit thou by my bed;
And hear, I think, the very latest counsel
That ever I shall breathe. God knows, my son,
By what by-paths and indirect crook’d ways
I met this crown; and I myself know well
How troublesome it sat upon my head:
To thee it shall descend with better quiet,
Better opinion, better confirmation;
For all the soil of the achievement goes
With me into the earth.

Shift around the letters, and it becomes:

Two weeks back, Ms. Christiane Amanpour hobnobbed live with five former secretaries of state.

They told her why their instinct is for the new president to talk to both allies and enemies.

They told her in synch why we must both close Guantanamo and end torture.

They told her why it is time to move on climate change.

They told her why they think Iraq’s a hot potato.

Dumb liberal bile!

You can read a transcript of the interview here.