Teaching Shakespeare To Esl Students

This is a teacher’s resource book tailor-made for EFL teachers who want to bring Shakespeare into their classes. It includes forty innovative lesson plans with ready-to-use worksheets, hands-on games and student-oriented activities that help EFL learners achieve higher levels of English proficiency and cultural sensitivity. By introducing the plots, characters, and language arts employed in Macbeth, Romeo and Juliet, The Taming of the Shrew, and The Merchant of Venice, the book conveys English grammatical rules and aspects like a walk in the garden; complicated rhetorical features such as stress, meter, rhyme, homonymy, irony, simile, metaphor, euphemism, parallelism, unusual word order, etc. are taught through meaning-driven games and exercises. Besides developing EFL learners’ English language skills, it also includes practical extended tasks that enhance higher-order thinking skills, encouraging reflection on the central themes in Shakespeare’s plays.

Teaching pragmatics, that is, language in use, is one of the most difficult and consequently neglected tasks in many English as a Second Language classrooms. This Element aims to address a gap in the scholarly debate about Shakespeare and pedagogy, combining pragmatic considerations about how to approach Shakespeare's language today in ESL classes, and practical applications in the shape of ready-made lesson plans for both university and secondary school students. Its originality consists in both its structure and the methodology adopted. Three main sections cover different aspects of pragmatics: performative speech acts, discourse markers, and (im)politeness strategies. Each section is introduced by an overview of the topic and state of the art, then details are provided about how to approach Shakespeare's plays through a given pragmatic method. Finally, an example of an interactive, ready-made lesson plan is provided.

Outlines an engaging way to instill an understanding and appreciation of Shakespeare's classic works in children, outlining a family-friendly method that incorporates the history of Shakespearean theater and society.

Developed by one of the world's leading theatre companies, this fantastic resource offers teachers a practical, drama-based approach to teaching and appreciating three of Shakespeare's most popular plays: Romeo and Juliet, Macbeth, and A Midsummer Night's Dream. The toolkit brings the plays alive as performance pieces, with Primary pupils undertaking drama-based explorations of the text that take them through much of the play. Teachers' notes and accompanying photocopiable worksheets offer a lesson-by-lesson teaching route through each of the three plays in turn. The schemes of work offer teachers a route through each play that has been designed to be flexible and to bolt on to what they already teach. The schemes comprise a series of lessons that can either be followed in their entirety as a stand-alone scheme of work or which can be dipped into by teachers wanting to augment their existing schemes of work.

Provides book titles and commentary that aid in teaching ESL students, showing how each title, ranging from fiction to nonfiction and from history to science, is appropriate for the instruction of children in all age groups.

I have personally compiled and edited this collection of 33 Shakespearean scenes specifically for aspiring female actors to study as well as enjoy. The scenes within this book are most suited to older, teenage actors, who have already begun to acquire some of the technical skills necessary to perform Shakespeare's wonderfully drawn, young adult female characters. These scenes are suitable for a range of acting exams and awards as well as for auditions and festivals. I have tried and tested these scenes with numerous students over the years with great success and more importantly, they have thoroughly enjoyed working on them. I have not provided guidelines as to how to perform these scenes. This is something for the individual performer to explore and what is what will make your performance individual. However, I do strongly believe, it is crucial to play characters within ones' playing range. As a developing actor, in your late teens and beyond, now is the time to tackle the more demanding female characters which Shakespeare has so brilliantly created. Continue to build your vocal skills and acting technique systematically. In this way your performances will have the necessary depth and will be exciting to watch. Learn to discover your character's subtext and objectives. This will enable your characters to spring to life and hence, help your audience believe in you. Methodical preparation will pay dividends when exploring these fascinating characters. I hope you enjoy working on them.

Teaching Strategies for Neurodiversity and Dyslexia in Actor Training addresses some of the challenges met by acting students with dyslexia and highlights the abilities demonstrated by individuals with specific learning differences in actor training. The book offers six tested teaching strategies, created from practical and theoretical research investigations with dyslexic acting students, using the methodologies of case study and action research. Utilizing Shakespeare’s text as a laboratory of practice and drawing directly from the voices and practical work of the dyslexic students themselves, the book explores: the stress caused by dyslexia and how the teacher might ameliorate it through changes in their practice the theories and discourse surrounding the label of dyslexia the visual, kinaesthetic, and multisensory processing preferences demonstrated by some acting students assessed as dyslexic acting approaches for engaging with Shakespeare’s language, enabling those with dyslexia to develop their authentic voice and abilities a grounding of the words and the meaning of the text through embodied cognition, spatial awareness, and epistemic tools Stanislavski’s method of units and actions and how it can benefit and obstruct the student with dyslexia when working on Shakespeare Interpretive Mnemonics as a memory support and hermeneutic process, and the use of color and drawing towards an autonomy in live performance This book is a valuable resource for voice and actor training, professional performance, and for those who are curious about emancipatory methods that support difference through humanistic teaching philosophies.