Charlotte Bourne, Deputy Head of Learning at Shakespeare’s Globe, shares four places to get started with the free online resources developed by the theatre’s education team.

As well as being an iconic cultural venue, Shakespeare’s Globe provides free resources for schools, supporting teachers to create learning opportunities that provide challenge for all. With materials available for teachers and learners across all phases, our education resources are designed to:

·         Offer flexibility within the teaching of Shakespeare through active approaches, rehearsal room techniques or technology – giving opportunities for children to flourish across a range of domains;

·         Add breadth to learners’ understanding of vocabulary through interrogating language choices;

·         Add depth to leaners’ understanding of the relationship between Shakespeare’s texts and their contexts;

·         Use them as a springboard to wider learning opportunities, such as homework projects or longer-term investigations.

Each year we also run a “Playing Shakespeare” microsite which tracks a production as it is developed and performed. This year’s microsite is dedicated to Macbeth (details below).

Ready to go deeper with Shakespeare? Here are four places to get started…

1.      ‘Discover' zone

Great for an introduction to Shakespeare or a focus on context, the Globe website’s ‘Discover’ zone provides a wealth of information on: the history of Shakespeare’s Globe(s); factsheets about Shakespeare's world; blog posts from the Globe; music at the Globe; ‘ask an actor’ podcasts.

Our fact sheets – on Shakespeare, London, writing plays, actors, indoor theatre, special effects, the first Globe, playhouses, audiences, and costumes and cosmetics – are particularly useful for introducing students to Elizabethan and Jacobean contexts in an accessible way at KS2, and can easily be adapted to your lesson objectives. For example:

·         Support the development of critical literacy skills: “We have very few accounts of how the audience behaved, and most of them are about ‘bad’ behaviour. This probably tells us more about what was considered ‘news’ than about how audiences behaved all the time.”

·         Introduce learners to how performance conditions impact on texts: “There were practical reasons why some plays were better suited to indoor theatres. Indoor theatres had a small stage (about half the size of an outdoor theatre’s stage). There were also stools allowed on the stage: the most expensive seats, where rich ‘gallants’ sat to be seen as well as to watch. This gave the actors far less space for big battles or crowd scenes. On the other hand, the smaller space and the candlelight enhanced a play’s magical effects.” This could be followed by an investigation into which of Shakespeare’s plays learners think would suit each type of theatre.

2.      Staging It

An interactive filmmaker for desktops and tablets, Staging It aims to help learners understand Shakespeare’s texts from a director’s perspective and offers the option to virtually stage a scene at the Globe.

Actors are filmed performing a moment of a play on the Globe stage. Each line of their speech is shot four times, each time performed in different ways (happy, flirtatious, defensive, etc.). Students decide which clips to add to the dynamic storyboard to build a final scene. They can then interrogate the choices they made, and the impact of these on how each character is perceived.

These resources support students in recognising that the text is a conscious construct, shaped by the context in which it is received – vital preparation for GCSE English that can be introduced at KS3 through this resource.

Follow-up questions can be used to support the development of critical thinking: How am I looking at this character? What leads me to have this viewpoint? What does my viewpoint ignore? Is there another way to look at them? How might [a different culture/gender etc.] view them? Which of these possible viewpoints makes the most sense given the text? This could be modelled in advance by the teacher, as “revealing the thought processes of an expert learner helps to develop [these types of] metacognitive skills” (EEF, 2018).

3.      Teach Shakespeare

The Globe’s website for teachers, Teach Shakespeare provides hundreds of learning resources in multiple formats: photos, video clips from previous productions, synopses, audio interviews, fact sheets and schemes of work. Designed with input from teachers, the site can be searched by age range, play, format, or purpose (e.g. lesson plan/exam revision). No signup is needed to access the resources.

Many of these resources incorporate rehearsal room techniques. These have experimentation, collaboration and reflection at their heart, and encourage students to make their own discoveries about the text.

For example, this resource suggests the activity ‘walking the line’ to investigate Shakespeare’s use of metre: foot up on unstressed syllables and down on stressed syllables, noticing and commenting on irregularities in the ‘Gallop apace’ speech in Act 3 Scene 2 of ‘Romeo and Juliet’. The ‘commenting’ is particularly important, because it is the collaborate nature of reflection that helps further the metacognitive talk referenced above. We provide video clips showing the actors undertaking some of these techniques, to model the insights that come through actively exploring the text in this way.

4. Playing Shakespeare

This site provides a gateway to all our previous production-specific websites created as part of the Playing Shakespeare project, each of which tracks a production from rehearsal to final performance. This year’s microsite is dedicated to Macbeth, with previous productions covered including Romeo and Juliet, Much Ado About Nothing, Twelfth Night, A Midsummer Night's Dream, Othello, The Merchant of Venice, The Taming of the Shrew. Each of these sites contains photos, interviews with the cast and director, design briefs, articles and teaching activities.

The interviews with cast members give students the opportunity to unpick the texts in performance – a key aspect in appreciating the form. Listen to several Macbeths discussing their interpretations, for example, can help students understand that, unlike a novel, a drama text is incomplete on the page.

There are research articles on particular plays, written for a KS3-4 audience moving to focus in more detail on the relationship between text and context. These provide a rich exploration of writer's craft that cannot be separated from context, and can be used to model the integrated approach to this required for higher-level literary analysis.

Our Macbeth 2020 website has launched and will begin tracking the production in January!

1. Language: director's edit

Our “script machines” display the script of five key scenes from the play, but with a twist: you have the option of showing the director's edit. This enables you to unpick AO2 more organically with learners, because the interplay between language (Shakespeare's text) and form (a script to be edited for the stage) becomes apparent. For example:

Juliet: O, sweet my mother, cast me not away!
Delay this marriage for a month, a week;
Or, if you do not, make the bridal bed
In that dim monument where Tybalt lies.

• What do the cut lines convey in terms of meaning?
• What does removing them achieve?
  
• What meaning is the director drawing our attention towards, or away from, through this edit?
  

This serves as a reminder that, in any performance text, there is more than one conscious construct at work. Although learners will need to know the whole text, the “meanings and effects” (AO2) has a greater plurality when considered in this light.

Indeed, this can also lead to discussions around the context: the origins of Shakespeare's writing, shaped by the theatre practices of his day, mean that even modern editions of the same, full play-text may differ. What an audience receives, therefore, is already layered with interpretation.

2. Language: literary terms

This part of the resource gives learners the opportunity to identify where certain literary techniques are being used by Shakespeare, across five key scenes. This can be used as a revision tool, but why not use it to model the thought processes in understanding how these techniques work to create meanings and effects? This moves learners away from the fallacy of technique-spotting, and can be adapted for KS3 and KS4.

With this in mind, several techniques in each scene are broken down into a series of questions, on our Teachers’ Notes page. For example:

• Tybalt describes the servants as “heartless hinds”. How does this metaphor show that Tybalt has a low opinion of the servants? Use the questions below to support your thinking.
  
• What possible meanings does the word “hind” have?
  
• How about the word “heartless”? Hint: remember that Shakespeare’s audience would have heard the play; “heartless” could also therefore be heard as “hart-less”. How could this link to “hind”?
  
• Consider the effect of the alliteration in making this link.
  
• How does this contribute to the servants’ definition of masculinity set up in the opening exchange between Sampson and Gregory?
  

To extend the challenge, learners could then create their own questions to deconstruct other techniques. Creating these questions demands higher-order thinking, as learners need to be at Bloom's level of “analysis” before attempting this. To scaffold them up to this level of challenge, they could look at how the same technique is deconstructed in a different scene. This has the added benefit of highlighting the nuanced effects of the same technique used in different parts of the text.

3. Research articles: Brooke versus Shakespeare

Brooke's 1562 poem, “The Tragical History of Romeus and Juliet”, served as a key source for Shakespeare. So far, so bolt-on AO3. However, this resource allows learners to compare the differences between Shakespeare's prologue and Brooke's “argument”. It highlights how Shakespeare’s drama occurs over just five days, whereas Brooke’s poem unfolds over nine months, and that Juliet’s age is lowered from 16 to 13.

Drawing out these differences allows for rich exploration of writer's craft that cannot be separated from context, required for the top bands at GCSE.

• Have learners compare the time reference in Brooke's “argument” with Shakespeare's prologue, and discuss what effect this might have.
  
• Next, ask learners to find all the references to time within Shakespeare's version; what patterns do they spot? Why is it that time seems to pass so quickly in the play? Consider this also in light of Shakespeare's younger Juliet.
  
• What meaning is being created through these marked changes to the original source material? If time is compacted and Juliet is younger, what might this suggest about the speed of young love?
  
• How does the adaptation of form – from poem to play – affect how it is received?
  

4. Character interviews

Providing learners with the opportunity to engage with text in performance is a cornerstone of the work we do, and part of this involves providing access to actors taking part in the production.

Although learners wouldn't need to analyse actors' interpretations in their exam, the character interviews provide a window into hearing how someone else arrived at an informed, personal response (AO1). Questions cover: What are your initial impressions of your character(s)? What have you noticed about your character’s language, i.e. the way they speak to others/about themselves?

Characters are interviewed several times across the production, providing learners with opportunities to reflect on the complex nature of interpretation: how this can be revised with each more detailed exploration of the text.

To access these resources, plus a wealth of additional resources to support a challenging curriculum, visit 2019.playingshakespeare.org. Remember: the website tracks the production so please keep coming back to see what else we have added!

Charlotte Bourne is Deputy Head of Learning at Shakespeare’s Globe, with a focus on learners aged 3-18, plus the educators who support them. The Globe’s on-site Lively Action programme welcomes close to 80,000 learners per year, while its international outreach work sends practitioners to China, the US and Europe. A qualified English teacher and AQA examiner for GCSE Literature, Charlotte has worked closely with ITTs and NQTs across multiple subjects.