Kevin Long and Mary T. Christel offer active drama approaches that position students to engage with a rich text through low-risk speaking and improvisation activities as a part of any ELA classroom. Shakespeare didn't write his plays for readers; he wrote individual "cue scripts" for actors who hadn't read the entire play but had to perform on the fly with almost no rehearsal. Those cue scripts have become the written form of his dramas, compiled originally in the First Folio of 1623. And the actors' cues for meaning, emotion, and emphasis are still embedded in Shakespeare's language, ripe for discovery by today's students. Shakespeare's plays rightly remain a staple of the ELA curriculum, but evolving standards and youth culture itself challenge teachers to put students--not a text--at the center of a reading experience in order to support diverse readers and learners. How can we do this? Experienced educators Kevin Long and Mary T. Christel introduce us to the Folio technique, which builds on active drama approaches that position students to engage with a rich text through low-risk speaking and improvisation activities. Without requiring students to become actors, the Folio technique helps them to discover the clues the Bard built into his works that allow actors to efficiently understand their characters' text, context, and subtext. Teachers can use excerpts from the First Folio along with a mass market paperback or digital edition of a play to help students get closer to Shakespeare's intentions; understand the language, action, and emotions of the characters; and perhaps even explore the challenges the Bard's modern editors face. The book offers suggestions for using parallel text, graphic, and abridged editions of Shakespeare's works, as well as activities using cue scripts and a variety of viewing experiences. A deep dive into the rich resources available for teaching Shakespeare's plays, Bring on the Bard is for every high school teacher--early career to veteran--looking for new, hands-on activities to draw students of all ability levels into the work and world of Shakespeare.

Foreword by Professor Emma Smith.The more you explore the plays of Shakespeare, the more you realise how they are an interrelated network of ideas and themes - linked to his context, his audience and his understanding of the world. In Bringing Forth the Bard, Zoe Enser equips busy teachers with the core knowledge that will enable them to make links between the themes, characters, language and allusions in Shakespeare's oeuvre. Each chapter includes tips on how to bring his plays to life in the classroom, and features case studies from practising teachers in a range of contexts to illustrate how they can ensure that their students develop an appreciation of his work - moving beyond the requirements of exams and empowering them to engage in the discussion around his influence and enduring appeal.Underpinned by the author's academic enquiries on the subject, at both undergraduate and master's level, the book enables teachers to access the information they need in order to enrich their teaching beyond a single play and begin to unpick the threads of Shakespeare's work as a whole. The link between subject knowledge and pedagogical approaches runs throughout the book, focusing on the Shakespeare plays most popularly taught in the classroom and how we can enrich students' understanding of these by looking both at the links across the domain and the bigger picture his work presents.Zoe builds a detailed schema of Shakespeare's work, his world, his ideas and his influences - and offers signposts to further reading and provides an appendix which will support teachers to rapidly find references to the plays they are teaching, and the ideas related to them.Suitable for teachers of English in all phases.

History is always written from the perspective of the ruling or rising elite at the time of writing. Concepts like The Stone Age, The Bronze Age, etc. were of course unknown during the stone age and the bronze age. They were invented in the 1800s to make sense of a development that seemed to reach its climax with industrialisation...

Billan doesn't know what to do--he's a bard, but somehow, he's lost his ability to rhyme! He cannot recite and serenade without that most important skill! Billan must set out and find a solution to his problem, but who will be able to help?

Without William Shakespeare, we wouldn’t have literary masterpieces like Romeo and Juliet. But without Henry Condell and John Heminges, we would have lost half of Shakespeare’s plays forever! After the death of their friend and mentor, the two actors are determined to compile the First Folio and preserve the words that shaped their lives. They’ll just have to borrow, beg, and band together to get it done. Amidst the noise and color of Elizabethan London, THE BOOK OF WILL finds an unforgettable true story of love, loss, and laughter, and sheds new light on a man you may think you know.

Cleaning woman and karate expert Lily Bard is back in Charlaine Harris's latest cozy-but-noirish mystery about the dark secrets of a small Southern town In Shakespeare’s Christmas, Lily heads home to Bartley, Arkansas--always an uncomfortable scenario for the introverted Lily--for her sister Varena’s Christmas wedding. But Lily has more to worry about than being a bridesmaid for a sister to whom she’s no longer close. Soon after she arrives in Bartley, Lily’s private-detective boyfriend shows up too, and not just for moral support: He’s investigating a four-year-old unsolved kidnapping. Try as she might, Lily can’t help but get involved when she discovers that the case hits dangerously close to home--for Varena’s new husband is the widowed father of a girl bearing a remarkable resemblance to the vanished child.

Daniel's Guide to Early Retirement: 1: Intercept illegal money transfer from mafia boss. 2: Hide out in super exclusive Full Immersion Virtual Reality game until the heat is off. 3: Roll a bard. Max out charisma. Live it up. 4: Profit. With all the pesky planning out of the way Daniel set out to realize his ultimate dream: gaining enough money to buy a tropical island and spend his days playing the violin and RPGs. What could possibly go wrong? Disclaimer: There shall be no harems in this series. Overpowered, perfect protagonists will not be tolerated and excessive cursing will result in donations to the swear jar.

In That Way Madness Lies, fifteen acclaimed writers put their modern spin on William Shakespeare’s celebrated classics! “From comedy to tragedy to sonnet, from texts to storms to prom, this collection is a knockout.” —BuzzFeed.com West Side Story. 10 Things I Hate About You. Kiss Me, Kate. Contemporary audiences have always craved reimaginings of Shakespeare’s most beloved works. Now, some of today’s best writers for teens take on the Bard in these 15 whip-smart and original retellings! Contributors include Dahlia Adler (reimagining The Merchant of Venice), Kayla Ancrum (The Taming of the Shrew), Lily Anderson (As You Like It), Melissa Bashardoust (A Winter’s Tale), Patrice Caldwell (Hamlet), A. R. Capetta and Cori McCarthy (Much Ado About Nothing), Brittany Cavallaro (Sonnet 147), Joy McCullough (King Lear), Anna-Marie McLemore (Midsummer Night’s Dream), Samantha Mabry (Macbeth), Tochi Onyebuchi (Coriolanus), Mark Oshiro (Twelfth Night), Lindsay Smith (Julius Caesar), Kiersten White (Romeo and Juliet), and Emily Wibberley and Austin Siegemund-Broka (The Tempest).