Shakespeare For All Ages And Stages
Shakespearefor allages and stages
Shakespeare for all ages and stagesForewordThere is little doubt that children can become gripped by Shakespeare’sengaging stories and memorable characters from an early age. Whilstnot part of the statutory programme of study in Key Stages One or Two,many primary teachers find that imaginative and practical approaches toShakespeare can spark children’s enthusiasm and interest, the desire tostudy his plays further, and a lifelong love of Shakespeare’s work.This booklet contains a suggested framework of opportunities andexperiences, designed to help children and young people – regardlessof their age, their stage of learning or their level of attainment – to make steady progress in theirunderstanding and enjoyment of Shakespeare. The booklet complements our offer of Shakespeare:The Animated Tales on DVD for all primary schools and a live Shakespeare experience for all Key Stage3 pupils in the Making Good Progress pilot schools. I hope that schools will use these opportunitiesto enable even more children and young people to enjoy and be inspired by their encounters withShakespeare.Jim Knight,Minister of State for Schools and 14–19 Learners.1
Shakespeare for all ages and stagesContentsIntroduction 5Why Shakespeare? 6A framework of opportunities in Shakespeare across the key stages 8Suggested teaching approaches from the Foundation Stage to Key Stage 4 10Shakespeare post-16 38Working with a theatre practitioner in schools 40Preparing pupils for a theatre visit 42Acknowledgements 453
Shakespeare for all ages and stagesIntroductionThis booklet represents an exciting collaborationbetween the DCSF and its key partners in theNational Strategies and QCA as well as teachersand arts educators in the world of theatre andthe media.It contains a ‘framework of opportunities’ whichoffers significant experiences in Shakespearefrom key stage to key stage as well as suggestedlearning objectives linked closely to the NationalStrategies’ Frameworks, but tailored specificallyto Shakespeare. These are supported by practical,tried and tested ideas and approaches for use inthe classroom. There is advice from the RSC onpreparing pupils for live theatre experiences andfrom Globe Education, Shakespeare’s Globe onworking with arts educators in schools.It offers teachers from across the phases ideasfor working with Shakespeare’s stagecraft andlanguage as well as ways in to the historicaland theatrical contexts in which he worked. Itaims to enhance the educational experience ofShakespeare for young people by providing amap of opportunities for lifelong learning andpleasure in his work.Our message is that Shakespeare matters. Ashis friend and rival, the playwright Ben Jonson,said, “He was not of an age but for all time!” Wecouldn’t agree more and hope that you find thisbooklet useful.5
Shakespeare for all ages and stagesWhy Shakespeare?Shakespeare was just one writer amongstmany on London’s thriving sixteenth andseventeenth century stage – but he’s certainlyone that has lasted! His work is at the centre ofBritain’s twenty-first century theatre industry, isconstantly adapted for film, has been translatedinto hundreds of languages and is performedthroughout the world today.Shakespeare was a playwright, a poet, an actor,and a shareholder in his theatre company – acompany that might perform one week foranyone who could afford a penny to stand andwatch a play at the Globe, and for the fashionablecourts of Elizabeth or James I the next. Heunderstood how to take a familiar story andcreate tragic, hilarious, suspenseful, philosophical,challenging dramas with which people all overthe world continue to identify.Shakespeare was writing at a time beforetheatre technologies and complex stage designcreated visual worlds for theatre audiences andhe created those worlds through language. Hecoined new words and phrases that we still usetoday and his rich, theatrical and poetic languagecan be both strikingly resonant and a challengeto access.6When young people watch or read Shakespearetoday, they are pulled into a world that is bothalien and familiar to them. In one scene, histreatment of love, jealousy, racism, mourningor power can seem strikingly relevant; in thenext moment, the audience or reader mighthave to engage with concepts of religion, orfamily, or fashion completely different fromtheir own. Shakespeare constantly challengesand confounds us: we might be asked to laughin a painful scene or engage with profoundphilosophical questions in a comic one.Watching, performing and reading the work ofthis extraordinary poet and playwright asks usboth to challenge and celebrate our social andpersonal lives. Shakespeare can open up bravenew worlds to young people and offer themfresh ways of dealing with familiar ones. His workcan challenge our language skills and introduceus to new realms of poetic playfulness. He canextend our concepts of what fiction can do, andof what stories a drama can tell. Working withShakespeare can be challenging but is eminentlyrewarding, rich and fulfilling.
Shakespeare for all ages and stages7
Shakespeare for all ages and stagesA framework of opportunities inThe following ‘framework of opportunities’ offers teachers from across the phases ideas for working withShakespeare. It suggests significant experiences in Shakespeare from key stage to key stage as well as yearlylearning objectives linked to the National Strategies’ Frameworks, but tailored specifically to Shakespeare.By providing a map of opportunities, it ensures that each year and key stage builds on what has gonebefore and helps to prepare for what follows.A framework of opportunities in Shakespeare across the key stagesSignificant experiences in each key stage would be to FoundationStage andKey Stage 1ll Watch, read or listen to some of Shakespeare’s storiesll Use role play to explore some of the characters’ dilemmas in Shakespeare’s storiesll Act out, through role play and improvisation, some stories or scenes from Shakespearell Read or watch an abridged version of a Shakespeare playll Read, perform and talk about lines taken from scenes or speeches from Shakespeare’splaysll Work, if possible, with arts educators such as theatre-in-education groupsll Experience, if possible, some learning outside of the classroom, such as a visit to aKey Stage 2Key Stage 3Key Stage 4theatre or a relevant sitell Use dramatic approaches to explore some of Shakespeare’s scenesllllllllStudy at least one complete play by Shakespeare *Work, if possible, with actors and other arts educators such as theatre-in-education groupsSee, if possible, a professional production of a Shakespeare playUse a range of dramatic approaches to explore Shakespeare’s playsll Study at least one complete play by Shakespeare *ll See, if possible, alternative productions of the same play, for example, on film or in thetheatrell Use a wide range of dramatic approaches to explore Shakespeare’s plays* Statutory requirements8
Shakespeare for all ages and stagesShakespeare across the key stagesIt is supported on the following pages by suggested teaching approaches designed to help teachersdeliver the learning objectives in lively and engaging but manageable ways. They exemplify active,imaginative and participatory approaches related, where possible, to whole plays.Year on year learning objectivesFoundationStagell To understand what is meant by a ‘character’ in a storyll To identify some of the distinctive features of the characters they encounterYear 1ll To realise that stories can be told in different ways, including dramatisationYear 2ll To be familiar with some of Shakespeare’s stories and charactersYear 3ll To appreciate how characters are brought to life through performancell To understand that the text is a script which is brought to life in performanceYear 4ll To be familiar with Shakespeare’s life, times and theatreYear 5ll To identify some of the distinctive features of Shakespeare’s language and howlanguage has changed over timell To appreciate how characters interact and create dramatic tension through theirlanguage and actionsYear 6ll To explore some of the great themes of Shakespeare’s plays, such as kingship, romanceand ambitionYear 7ll To appreciate that Shakespeare’s plays can be performed and interpreted in different waysll To engage with some of the issues, themes and ideas in Shakespeare’s plays and toappreciate the way they remain relevant in the 21st centuryYear 8ll To understand how characters’ actions reflect the social, historical and cultural contextsof Shakespeare’s timell To understand the cultural significance of Shakespeare and his place in our literary heritageYear 9ll To understand how characters are developed during the course of a playll To appreciate the dramatic conventions and linguistic qualities of scenes andunderstand their significance to the play as a wholeYear 10ll To make a confident, critical and personal response to a whole play, using close textualreferencell To understand the complexity of Shakespeare’s characters and to make connectionswith other plays by ShakespeareYear 11ll To understand the significance of the social, historical and cultural contexts of aShakespeare playll To appreciate the moral and philosophical significance of Shakespeare’s plays and theirrelevance for a contemporary audience9
Shakespeare for all ages and stagesSuggested teachingapproaches from theFoundation Stage toKey Stage 4For further ideas and guidance, 3/subjects/english/focus/shakespeare10
Shakespeare for all ages and stagesShakespeare in theFoundation StagellDeveloping wall stories during or after readingand asking questions relating to where andwhy a character is in a particular setting.llProviding small world figures, puppets andAbout the objectives for Shakespeare:There are two learning objectives for Shakespearein the Foundation Stage. They focus on anunderstanding of the notion of character.llmasks which encourage pupils to retell knownstories and adapt or invent their own.llhear in their own play by resourcing role playareas with a range of stimulating objects anddressing-up clothes.To understand what is meant by a‘character’ in a story.llTo identify some of the distinctive featuresllllProviding the building blocks of further workon story and character before introducingpupils to them within the context ofShakespeare’s plays.To identify some of the distinctive features of thecharacters they encounterOne way to approach this learning objectivewould be to focus on artefacts, for example, by:llStrand 7: Understanding and interpreting texts.Strand 8: Engaging with and responding to texts.Show an understanding of the elements ofstories, such as main character, sequence ofevents, and openings, and how informationcan be found in non-fiction texts to answerquestions about where, who, why and how(same objective both strands).Suggested teaching approachesTo understand what is meant by a ‘character’ in astoryOne way to approach this learning objectivewould be to focus on storytelling, for example, by:llIdentifying characters in stories, locating themin illustrations and discussing key momentswith the pupils.Placing objects which relate to a particularcharacter in a story into a ‘character chest’. Aseach of the objects is removed, encouragepupils to make predictions about thecharacter’s personality, job, interests etc.During the reading of the story, encouragepupils to match the character to the objectsand discuss the accuracy of their predictions.Links to the Primary Framework:llAsking ‘who’ questions related to a story, e.g.“Who got married at the end of the story?”of the characters they encounter.They support progression by:Encouraging pupils to use the stories that theyllDrawing an outline of two characters on alarge sheet of paper on the floor. Choosecharacters that are distinctly different, such asa wicked queen and a good fairy. Selectobjects relating to the characters and discusstheir significance before asking pupils to placeeach item next to the character it bestrepresents. If necessary, support the decisionand ask pupils to justify their choices withreference to the character’s actions withinthe story.11
Shakespeare for all ages and stagesShakespeare in Year 1About the objectives for Shakespeare:There is one learning objective for Shakespearein Year 1. It focuses on an understanding ofdramatisation as a way of telling a story.llSuggested teaching approachesTo realise that stories can be told in different ways,including dramatisationOne way to approach this learning objectivewould be to focus on performance, for example,by:llTo realise that stories can be told inshort film, without dialogue. In pairs, ask themto discuss what they hear and what might behappening, where it might be set and whatfeelings the sound evokes. Suggest that theydance or move to selected passages. Beginviewing, pausing at key moments for thepupils to recount what they have seen andmake predictions. After viewing, select a soundsequence to support pupils’ re-enactment.different ways, including dramatisation.It supports progression by:llBuilding on pupils’ familiarity with differenttypes of stories.llBuilding on pupils’ understanding of charactersin stories.Links to the Primary Framework:Strand 4: Drama.llllAct out their own and well-known stories,using voices for characters.Strand 7: Understanding and interpreting textsllRecognise the main elements that shapedifferent texts.Strand 8: Engaging with and responding to texts.llVisualise and comment on events, charactersand ideas, making imaginative links to theirown experiences.12Selecting a wordless picture book, or one witha simple text, of a traditional tale or story wellknown to the pupils. Ask them to decide onessential items from the prop box and toperform selected scenes. Photograph freezeframes, (with a digital camera linked to thewhiteboard, if possible) and ask pupils toexplain how they were able to identify thecharacters and how the characters might befeeling and thinking. Turn some of theresponses into thought bubbles and add tothe photographs.Explore familiar themes and charactersthrough improvisation and role-play.llAsking pupils to listen to the soundtrack of allTaking the class through a significant sectionof a story. Ask pupils to work in small groups todecide what the characters would wear, howthey would move, how they would speak,what gestures and expressions they would use,what sound effects they could add etc. Oncepupils have completed their thoughtprocesses about the characters, challengethem to stage the scene.
Shakespeare for all ages and stagesShakespeare in Year 2About the objectives for Shakespeare:There is one learning objective for Shakespearein Year 2. It focuses on encounters with some ofShakespeare’s stories and characters.llTo be familiar with some of Shakespeare’sstories and characters.It supports progression by:llDeveloping pupils’ understanding of story andcharacter.llDeveloping pupils’ growing understanding ofdramatisation as a way of telling a story.experience of other stories. This could be doneorally, for example:Once upon a time, there was a king, and he hadthree . The first was very and . Thesecond was very and . But the third wasvery and . The years went by and theking grew old. He decided to divide his kingdombetween his three . First, he wanted to knowhow much they loved him. The first thoughtbut said . The king was .The secondthought but said . The king was . Thethird thought and said . The king wasvery .llTelling, watching, reading or performing thestory from a play by Shakespeare but leavingout the ending. Ask for predictions as to howpupils think the play will end. For example, dothey think that Prospero will have his enemieskilled, will he put a spell on them, or will heforgive them at the end of The Tempest? Whichis better – a happy or sad ending? Why? Usingtalk partners, ask pupils what would be thebest ending? Encourage pupils to justify theiranswers and explain their reasons.llPresenting the pupils with a list of ‘ingredients’from a chosen Shakespeare play, such as:fairies, a jealous king, a queen, an enchantedwood, magic etc (A Midsummer Night’s Dream)and ask them in pairs or small groups to createa story. Ask the pupils to tell or perform theirstory to the rest of the class and discusssimilarities and differences. Identify otherknown stories where other similar settings andcharacters appear.llTelling, reading, watching or performing asuitable version of the play, stopping forpredictions and discussion. Ask pupils tochoose 6-10 moments in the story to create astoryboard which could either be drawn orphotographed using digital cameras as pupilsact out and freeze a series of tableaux.Links to the Primary Framework:Strand 4: Drama.llPresent part of traditional stories, their ownstories or work drawn from different parts ofthe curriculum for members of their own class.Strand 8: Engaging with and responding to texts.llEngage with books through exploring andenacting interpretations.Suggested teaching approachesTo be familiar with some of Shakespeare’s storiesand charactersOne way to approach this learning objectivewould be to focus on pupils’ prior knowledge ofother stories, for example, by:llIntroducing the story of King Lear by linking itto pupils’ knowledge of folk tales and fairystories, for example, those involving a parent(king/queen) with three very different sons ordaughters. (There are particularly strongparallels between the plot of King Lear and thestory generally known as I Love You More ThanSalt). Ask them to help create a story usingprompts from the King Lear plot, filling in thegaps in the narrative by drawing on their13
Shakespeare for all ages and stagesAt Leighton Primary School in Crewe, teachers wanted to adopt a ‘Shakespeare-friendlyapproach’ from Year 1 to Year 6. English teacher Marie Speake describes their approach:“The experience of Shakespeare through role play, drama and art has always enhanced ourchildren’s reading and writing skills. Previously, we had offered the ‘Shakespeare experience’ tosome Year 6 gifted and talented children, but the increased flexibility of the Renewed PrimaryFramework and the desire to involve more children prompted the staff to promote Shakespearefrom Year 1 to Year 6. Shakespearean themes have contemporary relevance and we are constantlystriving to open new learning opportunities for the children through an array of culturalexperiences. Consequently, a team within the school, formed under the guidance of the literacyco-ordinator, wrote a progression plan for the teaching of Shakespeare as a pilot.Six units of work, which focused on three plays – The Tempest, Macbeth and A Midsummer Night’sDream, were written and trialled. Original language was used as far as possible – even KS1 childrenwere using original Shakespearean phrases in their role play. Cross-curricular activities includeddrama, art, media, history, ICT and design and technology. At least one piece of writing wasproduced by each year group based on the play that they were studying. This writing took a varietyof forms, such as poems to describe the storm in The Tempest, report writing on Elizabethan theatreand detailed setting descriptions based on A Midsummer Night’s Dream.The success of the work is best summed up by the following comments from our recent Ofstedinspection in December 2007: ‘A whole school focus on reading and writing has resulted in someastonishingly good work in literacy. Very notable examples are the works on Macbeth by pupils inYear 1 and A Midsummer Night’s Dream by pupils in junior classes.’”What the children said about Shakespeare:“I liked saying, ‘All hail, Macbeth, that shalt be King!’” (Year 1 boy)“The acting was fun! I liked it when we were on the ship saying, ‘Mercy on us! We split, we split, wesplit!’”
Year 2 lTo be familiar with some of Shakespeare’s stories and characters Key Stage 2 llRead or watch an abridged version of a Shakespeare play llRead, perform and talk about lines taken from scenes or speeches from Shakespeare’s
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