Book contents
- Reimagining Shakespeare Education
- Reimagining Shakespeare Education
- Copyright page
- Dedication
- Contents
- Figures
- Tables
- Notes on Contributors
- Acknowledgements
- Introduction
- Part I Reimagining Shakespeare with/in Schools
- Part II Reimagining Shakespeare with/in Universities
- Part III Public Reimaginings
- Part IV Digital Reimaginings
- Part V Reimagining Performance
- Afterword
- Index
- References
Part V - Reimagining Performance
Published online by Cambridge University Press: 02 February 2023
Book contents
- Reimagining Shakespeare Education
- Reimagining Shakespeare Education
- Copyright page
- Dedication
- Contents
- Figures
- Tables
- Notes on Contributors
- Acknowledgements
- Introduction
- Part I Reimagining Shakespeare with/in Schools
- Part II Reimagining Shakespeare with/in Universities
- Part III Public Reimaginings
- Part IV Digital Reimaginings
- Part V Reimagining Performance
- Afterword
- Index
- References
Summary
A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
- Type
- Chapter
- Information
- Reimagining Shakespeare EducationTeaching and Learning through Collaboration, pp. 265 - 331Publisher: Cambridge University PressPrint publication year: 2023
References
References
Billing, Christian M., 2012. ‘Rehearsing Shakespeare: Embodiment, Collaboration, Risk and Play …’, Shakespeare Bulletin 30.4, 383–410.Google Scholar
Olive, Sarah, 2015. Shakespeare Valued: Education Policy and Pedagogy 1989–2009 (Bristol and Chicago: Intellect).CrossRefGoogle Scholar
References
Hunter, Kelly, 2015. Shakespeare’s Heartbeat: Drama Games for Children with Autism (London: Routledge).Google Scholar
Mehling, Margaret H., Tassé, Marc J., and Root, Robin, 2017. ‘Shakespeare and Autism: An Exploratory Evaluation of the Hunter Heartbeat Method’, Research and Practice in Intellectual and Developmental Disabilities 4.2, 107–20.Google Scholar
Shakespeare, William. 2005. The Oxford Shakespeare: The Complete Works 2nd Edition, edited by Wells, Stanley and Taylor, Gary (Oxford: Oxford University Press).Google Scholar
Shaughnessy, Robert, 2018. ‘“All Eyes”: Experience, Spectacle and the Inclusive Audience in Flute Theatre’s The Tempest’, in Banks, Fiona (ed.), Shakespeare: Actors and Audiences (London: Bloomsbury), 119–38.Google Scholar
Zukofsky, Louis, 1987 [1964]. Bottom: On Shakespeare (Berkeley: University of California Press).Google Scholar
References
Barroso, Amanda, 2020. ‘61% of U.S. women say “feminist” describes them well; many see feminism as empowering, polarizing’. Pew Research Center, 7 July. www.pewresearch.org/fact-tank/2020/07/07/61–of-u-s-women-say-feminist-describes-them-well-many-see-feminism-as-empowering-polarizing/.Google Scholar
Golden, Neville H., Schneider, Marcie, and Wood, Christine, 2016. ‘Preventing Obesity and Eating Disorders in Adolescents’, Pediatrics 138.3, e1–10.Google Scholar
Korda, Natasha, 2011. Labors Lost: Women’s Work and the Early Modern English Stage (Philadelphia: University of Pennsylvania Press).CrossRefGoogle Scholar
Lauzen, Martha, 2020. It’s a Man’s (Celluloid) World: Portrayals of Female Characters in the Top Grossing Films of 2019, Center for the Study of Women in Television & Film. https://womenintvfilm.sdsu.edu/wp-content/uploads/2020/01/2019_Its_a_Mans_Celluloid_World_Report_REV.pdfGoogle Scholar
McManus, Clare, 2002. Women on the Renaissance Stage: Anna of Denmark and Female Masquing in the Stuart Court (1590–1619) (Manchester: Manchester University Press).Google Scholar
Meltzer, Marisa, 2014. ‘Who is a Feminist Now?’ New York Times, 21 May. www.nytimes.com/2014/05/22/fashion/who-is-a-feminist-now.htmlGoogle Scholar
Mikva Challenge. https://mikvachallenge.org/Google Scholar
Packer, Tina, 2015. Women of Will: Following the Feminine in Shakespeare’s Plays (New York: Alfred A. Knopf).Google Scholar
Pew Research Center, 2019. www.pewresearch.org/fact-tank/2019/03/22/gender-pay-gap-facts/Google Scholar
Shakespeare, William, 2006. As You Like It, edited by Dusinberre, Juliet (London and New York: Bloomsbury Arden Shakespeare).Google Scholar
Shakespeare, William, 2017. A Midsummer Night’s Dream, edited by Chaudhuri, Sukanta (London and New York: Bloomsbury Arden Shakespeare).Google Scholar
Simmons, Rachel, 2009. The Curse of the Good Girl: Raising Authentic Girls with Courage and Confidence (New York: Penguin Press).Google Scholar
Smith, S. G., Zhang, X., Basile, K. C., Merrick, M. T., Wang, J., Kresnow, M., and Chen, J., 2018. The National Intimate Partner and Sexual Violence Survey (NIPSV): 2015 Data Brief – Updated Release (Atlanta, Georgia: National Center for Injury Prevention and Control, Centers for Disease Control and Prevention).Google Scholar
Williams, Deanne, 2014. Shakespeare and the Performance of Girlhood (Basingstoke: Palgrave Macmillan).Google Scholar
References
Dreier, Jenna, 2019. ‘From Apprentice to Master: Casting Men to Play Shakespeare’s Women in Prison’, Humanities 8.3, 1–24. https://doi.org/10.3390/h8030123.Google Scholar
Liem, Marieke, 2013. ‘Homicide Offender Recidivism: A Review of the Literature’, Aggression and Violent Behavior 18.1, 19–25.Google Scholar
Pensalfini, Rob, 2013. ‘Shakespeare of the Oppressed,’ in Flaherty, Kate, Gay, Penny, and Semler, Liam E. (eds.), Teaching Shakespeare Beyond the Centre: Australasian Perspectives (Basingstoke: Palgrave Macmillan), 225–36.Google Scholar
Pensalfini, Rob, 2016. Prison Shakespeare: For these Deep Shames and Great Indignities (Basingstoke: Palgrave Macmillan).Google Scholar
Pensalfini, Rob, 2019. ‘The Play’s the Thing: Performance in Prison Shakespeare’, in Balfour, Michael, Bartleet, Brydie-Leigh, Davey, Linda, Rynne, John, and Schippers, Huib (eds.), Performing Arts in Prisons: Captive Audiences (Bristol: Intellect), chap. 9.Google Scholar
Shailor, Jonathan, 2011. Performing New Lives: Prison Theatre (London: Jessica Kingsley Publishers).Google Scholar
Trnka, Radek, Zahradnik, Martin, and Kuška, Martin, 2016. ‘Emotional Creativity and Real-Life Involvement in Different Types of Creative Leisure Activities’, Creativity Research Journal 28.3, 348–56.Google Scholar
References
Berry, Cicely, 2008. From Word to Play: A Handbook for Directors (London: Oberon Books).Google Scholar
Bourdieu, Pierre and Wacquant, Louis, 1992. An Invitation to Reflexive Sociology (Cambridge: Polity Press).Google Scholar
Brook, Peter, 1996. ‘The Culture of Links’, in Pavis, Patrice (ed.), The Intercultural Performance Reader (London: Routledge), 63–6.Google Scholar
Brook, Peter, 2013. The Quality of Mercy: Reflections on Shakespeare (London: Nick Hern Books).Google Scholar
Bruner, Jerome, 1996. The Culture of Education (Cambridge, MA: Harvard University Press).Google Scholar
Gonsalves, Aileen and Irish, Tracy, 2021. Shakespeare and Meisner: A Practical Guide for Actors, Directors, Teachers and Students (London: Bloomsbury).Google Scholar
Holderness, Graham, 2014. ‘“An Arabian in My Room”: Shakespeare and the Canon’, Critical Survey 26.2, 73–89.CrossRefGoogle Scholar
Irish, Tracy, 2012. ‘Shakespeare: A Worldwide Classroom’, Stratford-upon-Avon: RSC. www.academia.edu/23423997/Shakespeare_a_worldwide_classroom.Google Scholar
Irish, Tracy, 2015. ‘Performing Shakespeare in the Olympic Year’, in Prescott, Paul and Sullivan, Erin (eds.), Shakespeare on the Global Stage (London: Bloomsbury), 65–77.Google Scholar
Irish, Tracy, 2019. ‘Theatre, Education and Embodied Cognition: Young Women in the Changing World’, in Sewell, Jan and Smout, Clare (eds.), The Palgrave Handbook of the History of Women on Stage (Basingstoke: Palgrave Macmillan), 755–74.Google Scholar
Semler, Liam E., 2016. ‘Prosperous Teaching and the Thing of Darkness: Raising a Tempest in the Classroom’, Cogent Arts & Humanities, 3.1.Google Scholar
Shakespeare, William, 2007 [1997]. King Lear, edited by Foakes, R. A. (London: Thomson Learning).Google Scholar
References
Barnes, Stella, 2009. ‘Drawing a Line: A Discussion of Ethics in Participatory Arts with Young Refugees’, in Barnes, Stella (ed.), Participatory Arts with Young Refugees (London: Oval House Theatre), 34–40.Google Scholar
Gair, Reavley, 1982. The Children of Saint Paul’s: The Story of a Theatre Company (1553–1608) (Cambridge: Cambridge University Press).Google Scholar
‘Les Edward’s Boys à sortieOuest’, 2016. Moulin On Line: Journal du Lycée Polyvalent Jean Moulin, Béziers, 11 April. http://journaldelacite.canalblog.com/archives/2016/04/11/33584514.html.Google Scholar
March, Florence, and Vienne-Guerrin, Nathalie, 2016. ‘A Shakespearean Odyssey in Montpellier’, Cahiers Élisabéthains 91, 67–75.Google Scholar
McCarthy, Harry R., 2020. Performing Early Modern Drama Beyond Shakespeare: Edward’s Boys (Cambridge: Cambridge University Press).Google Scholar
Semler, Liam E., 2013. Teaching Shakespeare and Marlowe: Learning Versus the System (London: Bloomsbury).Google Scholar
Thompson, Ayanna, and Turchi, Laura, 2016. ‘Embodiment and the Classroom Performance’, in Traub, Valerie (ed.), The Oxford Handbook of Shakespeare and Embodiment (Oxford: Oxford University Press), 724–36.Google Scholar
Wozniak, Jan, 2016. The Politics of Performing Shakespeare for Young People: Standing Up to Shakespeare (London: Bloomsbury).Google Scholar