Why Teach a Plot Summary?
Teaching Shakespeare can be hard; learning Shakespeare can be even harder. The demands of vocabulary, syntax, plot, and sheer volume of words can overwhelm young brains accustomed to processing bite-sized text. Student brains can often crash attempting too much too soon with a Shakespearean play. They are like web browsers taxed with too many open tabs. Beginning with a plot overview engages all learners and relieves anxiety while introducing the characters and plot lines; thus, freeing brain power to focus on the complexities of language in future lessons.
“Casting” the Play
To begin, assign as many roles as possible. I will often write the major characters on scrap pieces of paper or occasionally grab a stack of “Hi, my name is….” stickers from the office. When I have time, a particularly creative burst of energy, or a class that really needs strong visual references, I make large name cards that can be worn around the neck. I find including smaller characters like servants or messengers unnecessarily complicates the plot lines; however, small parts often engage more reluctant thespians. So I often include parts like, “The bush that Romeo hides behind” or, for Twelfth Night, “The Bow, “The Stern,” “The Mast” and “The Shipwrecking Storm.”
I employ various strategies for distributing roles. Sometimes, I have students pick parts from a hat. Other times I “rig” the drawing when I know that either someone would serve as a marvelous Mercutio, or, terrified of performing, they would make a terrific tree from which Ariel could be rescued. In addition, sometimes I try to get everyone a role, or, with smaller classes, two roles, and other times I promise that non-recruited students will receive roles in the future.
Action!
After parts have been cast, read a plot summary. I like the ones from Shakespeare for Dummies. They impart a sense of humor and aren’t too detailed…although at times I find myself adding more detail if I think that students are following the plot well. As I read the summary, students get up and improvise that part. For example, I would read, “Duke Orsino sends letters to Lady Olivia, who rejects them because she is mourning her brother.” I would then prompt the student playing Orsino, “Hey, send her this letter. [The piece of scrap paper I’m waving around my hand] Give it to that guy, he’s the messenger.” Orsino usually takes the letter and hands it to the other student and direct the messenger: “Okay, go give it to Olivia over there. Okay, good. Now Olivia…reject it.” At which point, she either puts up her hand, drops the letter on the floor, or, ideally, she rips it up dramatically then hurls it at the messenger. Progress through the summary, reading, directing, encouraging and complimenting. After finishing, check for understanding. Ask questions for the class to answer, or see how much of the play they could do again without prompting.
Bonus Tip for Creating Culture
Years ago I participated in a Shakespeare workshop with a theater out of Lenox, Massachusetts, and Kevin, the director, gave me some of the most powerful educational advice: “Don’t be good at it!” I found this liberating. “Wait…I don’t have to be good at this? I can just wing it?” Suddenly my brain and heart were free to fully experience the activity without worrying about getting it right. Let’s face it, ALL learning is failure. If you didn’t fail, you didn’t learn…you already knew it. Thus, focusing on the experience, not “getting it right” helps create a growth mindset culture.
So give it a try! Post your questions, reactions, and discoveries in the comments! You can check out a video version of this post below!
Teaching Shakespeare through Performance 