Skip to main content Accessibility help
×
Hostname: page-component-78c5997874-t5tsf Total loading time: 0 Render date: 2024-11-06T04:03:38.147Z Has data issue: false hasContentIssue false

Teaching Shakespeare and His Sisters

An Embodied Approach

Published online by Cambridge University Press:  09 June 2023

Emma Whipday
Affiliation:
Newcastle University

Summary

What are we teaching, when we teach Shakespeare? Today, the Shakespeare classroom is often also a rehearsal room; we teach Shakespeare plays as both literary texts and cues for theatrical performance. This Element explores the possibilities of an 'embodied' pedagogical approach as a tool to inform literary analysis. The first section offers an overview of the embodied approach, and how it might be applied to Shakespeare plays in a playhouse context. The second applies this framework to the play-making, performance, and story-telling of early modern women – 'Shakespeare's sisters' – as a form of feminist historical recovery. The third suggests how an embodied pedagogy might be possible digitally, in relation to online teaching. In so doing, this Element makes the case for an embodied pedagogy for teaching Shakespeare.
Get access
Type
Element
Information
Online ISBN: 9781108975650
Publisher: Cambridge University Press
Print publication: 13 July 2023

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Bibliography

Primary Sources

Anon. (1592). Arden of Faversham, edited by Richardson, Catherine (2022), London: Arden Early Modern Drama.Google Scholar
Anon. (1582). A true and just Recorde, of the Information, Examination and Confession of All the Witches, taken at S. Oses in the countie of Essex, London.Google Scholar
Anon. (1598). The Apprehension and Confession of Three Notorious Witches, London.Google Scholar
Aughterson, Kate, ed. (1995). Renaissance Woman: A Sourcebook: Constructions of Femininity in England, London: Routledge.Google Scholar
Cary, Elizabeth. (1613). The Tragedy of Mariam, edited by Wray, Ramona (2012), London: Arden Early Modern Drama.Google Scholar
Cerasano, S. P., and Wynne-Davies, Marion, eds. (1996). Renaissance Drama by Women: Texts and Documents, London: Routledge.Google Scholar
Crawford, Patricia, and Gowing, , Laura, eds. (2000). Women’s Worlds in Seventeenth-Century England: A Sourcebook, London: Routledge.Google Scholar
Daniel, Samuel. (1601a). An Edition of ‘The Tragedie of Cleopatra’ by Samuel Daniel, edited by Bowles, Dorothy Heather (2020). PhD Thesis: University of Sheffield, https://etheses.whiterose.ac.uk/28438/.Google Scholar
Daniel, Samuel. (1601b). The Works of Samuel Daniel Newly Augmented, London.Google Scholar
Daniel, Samuel. (1611a). Certaine Small Workes Hertofore Divulged by Samuel Daniell, London.Google Scholar
Daniel, Samuel. (1611b). The Tragedie of Cleopatra, London.Google Scholar
Dekker, Thomas, Ford, , John, and Rowley, William. (1621a). The Witch of Edmonton, edited by Corbin, and Sedge, Douglas (1997), Revels Student ed., Manchester: Manchester University Press.Google Scholar
Dekker, Thomas, Ford, , John, and Rowley, William. (1621b). The Witch of Edmonton, edited by Munro, (2017), London: Arden Early Modern Drama.Google Scholar
Fane, Rachel. (1627). ‘Rachel Fane’s May Masque at Apethorpe, 1627’, edited by O’Connor, Marion (2006), English Literary Renaissance, 36(1), 90113.Google Scholar
Gibson, Marion, ed. (2000). Early Modern Witches: Witchcraft Cases in Contemporary Writing, London: Routledge.Google Scholar
Goodcole, Henry. (1621). The Wonderfull Discoverie of Elizabeth Sawyer, London.Google Scholar
Jones, Inigo. (1609a). ‘House of Fame’. Wikimedia, https://commons.wikimedia.org/wiki/File:House_of_Fame_Jones.jpg.Google Scholar
Jones, Inigo. (1609b). ‘Penthesilia’. Wikimedia, https://commons.wikimedia.org/wiki/File:Jones_Penthesilea.jpg.Google Scholar
Jonson, Ben. (1609). Masque of Queens, London.Google Scholar
Jonson, Ben. (1692). Masque of Queens. In Jonson’s Works, edited by Holloway, Clark J. (2002), http://hollowaypages.com/jonson1692fame.htm.Google Scholar
Henry, Peacham. (c.1594–5). ‘Henry Peacham’s Sketch of Titus Andronicus: Based on the Original in the Possession of the Marquis of Bath’. In ‘A Performance of a Shakespeare Play’, Internet Shakespeare Editions, University of Victoria, 28 September 2016, https://internetshakespeare.uvic.ca/Library/SLT/stage/staging/titus.html.Google Scholar
Pollard, Tanya, ed. (2004). Shakespeare’s Theater: A Sourcebook, Oxford: Blackwell.Google Scholar
Purkiss, Diane, ed. (1998). Three Tragedies by Renaissance Women, London: Penguin.Google Scholar
Rosen, Barbara, ed. (1992). Witchcraft in England, 1558–1618, Amherst: University of Massachusetts Press.Google Scholar
Shakespeare, William. (1597). Romeo and Juliet, 2nd ed., edited by Blakemore Evans, G. (2003), Cambridge: Cambridge University Press.Google Scholar
Shakespeare, William. (1603). Hamlet, 3rd ed., edited by Edwards, Philip (2003), Cambridge: Cambridge University Press.Google Scholar
William, Shakespeare. (c.1606). Macbeth, 2nd ed., edited by Braunmuller, A. R. (2008), Cambridge: Cambridge University Press.Google Scholar
Webster, John. (1612). The White Devil, edited by Robinson, Benedict S. (2019), London: Arden Early Modern Drama.Google Scholar
Mary, Wroth. (c.1614–1619). Love’s Victory, edited by Findlay, Alison (2022), The Revels Plays, Manchester: Manchester University Press.Google Scholar

Secondary Sources

Abeysekera, Lakmal, and Dawson, Phillip. (2015). ‘Motivation and the Cognitive Load in the Flipped Classroom: Definition, Rationale, and a Call for Research’. Higher Education Research and Development 34(1), 114.Google Scholar
Abrahamson, Dor, and Sánchez-García, Raul. (2016). ‘Learning is Moving in New Ways: The Ecological Dynamics of Mathematics Education’. Journal of the Learning Sciences 25(2), 203–39.Google Scholar
Aebischer, Pascale, and Prince, Kathryn, eds. (2012). Performing Early Modern Drama Today, Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Angelo, Thomas A., and Cross, K. Patricia. (2013). Classroom Assessment Techniques, 2nd ed., New York: Jossey Bass.Google Scholar
Anon. (2016). ‘Student Surveys are a Waste of Everyone’s Time’. Academics Anonymous in The Guardian, 1 July, www.theguardian.com/higher-education-network/2016/jul/01/student-surveys-are-a-waste-of-everyones-time.Google Scholar
Archer, Jayne Elisabeth, Goldring, Elizabeth, and Knight, Sarah, eds. (2007). The Progresses, Pageants, and Entertainments of Queen Elizabeth I, Oxford: Oxford University Press.Google Scholar
Arshad, Yasmin. (2019). Imagining Cleopatra: Performing Gender and Power in Early Modern England, London: Arden Shakespeare.Google Scholar
Arshad, Yasmin, Hackett, Helen, and Whipday, Emma. (2014). ‘Daniel’s Cleopatra and Lady Anne Clifford: From a Jacobean Portrait to Modern Performance’. Early Theatre 17(2), 167–86.Google Scholar
Awan, Omer A. (2021). ‘Peer to Peer Learning: Its Importance and Benefits’. Academic Radiology 28(5), 747–8.Google Scholar
Bamford, Karen, and Leggatt, Alexander, eds. (2002). Approaches to Teaching English Renaissance Drama, New York: Modern Language Association of America.Google Scholar
Banks, Fiona. (2013). Creative Shakespeare: The Globe Education Guide to Practical Shakespeare, London: Arden Shakespeare.Google Scholar
Bargh, John A., and Schul, Yaacov. (1980). ‘On the Cognitive Benefits of Teaching’. Journal of Educational Psychology 72(5), 593604.Google Scholar
Barnett, Ronald, ed. (2005). Reshaping the University: New Relationships between Research, Scholarship and Teaching, Maidenhead: Open University Press.Google Scholar
Basit, Tehmina N., and Tomlinson, Sally, eds. (2012). Social Inclusion and Higher Education, Bristol: Bristol University Press, www.jstor.org/stable/j.ctt1t891n1.16.Google Scholar
Bendall, Sarah A. (2019). ‘“Take Measure of Your Wide and Flaunting Garments”: The Farthingale, Gender and the Consumption of Space in Elizabethan and Jacobean England’. Renaissance Studies 33(5), 712–37.CrossRefGoogle Scholar
Bertolet, Anna Riehl and Levin, Carole. (2018). Creating the Premodern in the Postmodern Classroom: Creativity in Early English Literature and History Courses, Arizona Center for Medieval and Renaissance Studies, Chicago: University of Chicago Press.Google Scholar
Bevington, David. (2016). ‘The Classroom’. In Callaghan, Dympna and Gossett, Suzanne, eds., Shakespeare in Our Time: A Shakespeare Association of America Collection, London: Arden Shakespeare, pp. 41–8.Google Scholar
Biet, Christian. (2011). ‘Presence, Performance and Critical Pleasure: Play and Prerequisites in Research and Teaching’. In Conroy, Derval and Clarke, Danielle, eds., Teaching the Early Modern Period, Basingstoke: Palgrave Macmillan, pp. 263–9.Google Scholar
Biggs, John, and Tang, Catherine. (2007). Teaching for Quality Learning at University: What the Student Does, 3rd ed., Maidenhead: Open University Press.Google Scholar
Blackstone, Mary A. (2006). ‘It’s as if I’m Really Doing Research!’. In Tiner, Elza C., ed., Teaching with the Records of Early English Drama, Toronto: University of Toronto Press, pp. 2747.Google Scholar
Blake, Felice. (2019). ‘Why Black Lives Matter in the Humanities’. In Crenshaw, Kimberlé Williams, Harris, Luke Charles, Daniel HoSang, Martinez, and Lipsitz, George, eds., Seeing Race Again: Countering Colorblindness across the Disciplines, Oakland: University of California Press, pp. 307–26.Google Scholar
Bloom, Gina. (2012). ‘“My Feet See Better Than My Eyes”: Spatial Mastery and the Game of Masculinity in Arden of Faversham’s Amphitheatre’. Theatre Survey 53(1), 528.Google Scholar
Bonwell, Charles C., and Eison, James A. (1991). Active Learning: Creating Excitement in the Classroom, Washington, DC: Jossey-Bass.Google Scholar
Brannen, Anne. (2006). ‘Using Historical Documents in the Literature Classroom: Elizabethan and Jacobean Court Cases’. In Tiner, Elza C., ed., Teaching with the Records of Early English Drama, Toronto: University of Toronto Press, pp. 8796.Google Scholar
Bransford, John D., Brown, Ann L., and Cocking, Rodney R. (2000). How People Learn: Brain, Mind, Experience, and School, Washington, DC: National Academy Press.Google Scholar
Brook, Peter. (1968). The Empty Space, Penguin Modern Classics (2008), London: Penguin.Google Scholar
Brookfield, Stephen D. (1995). Becoming a Critically Reflective Teacher, San Francisco: Jossey-Bass.Google Scholar
Brookhart, Susan M. (2008). How to Give Effective Feedback to Your Students, Alexandria: Association for Supervision and Curriculum Development.Google Scholar
Brown, David Sterling. (2016). ‘(Early) Modern Literature: Crossing the Color-Line’. Radical Teacher (105), 6977.Google Scholar
Burrows, Ian. (2020). Shakespeare for Snowflakes: On Slapstick and Sympathy, Winchester: Zero Books.Google Scholar
Callaghan, Dympna, and Gossett, Suzanne, eds. (2016). Shakespeare in Our Time: A Shakespeare Association of America Collection, London: Arden Shakespeare.Google Scholar
Callery, Dymphna. (2001). Through the Body: A Practical Guide to Physical Theatre, London: Nick Hern Books.Google Scholar
Carrington, Victoria, and Robinson, Muriel, eds. (2009). Digital Literacies: Social Learning and Classroom Practices, London: Sage.Google Scholar
Carson, Christie, and Kirwan, Peter, eds. (2014). Shakespeare and the Digital World: Redefining Scholarship and Practice, Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Cave, Richard. (2003). ‘The Value of Practical Work and of Theatregoing in the Study of Seventeenth-Century Drama (1600–1640)’. Literature Compass 1, 112.Google Scholar
Chanock, Kate. (2000). ‘Comments on Essays: Do Students Understand What Tutors Write?’. Teaching in Higher Education 5(1), 95106.Google Scholar
Cohen, Ralph A. (1999). ‘Original Staging and the Shakespeare Classroom’. In Riggio, Milla Cozart, ed., Teaching Shakespeare through Performance, New York: Modern Language Association of America, pp. 78101.Google Scholar
Cohen, Ralph A. (2018). ShakesFear and How to Cure It: The Complete Handbook for Teaching Shakespeare, London: Arden Shakespeare.Google Scholar
Conkie, Rob, and Maisano, Scott, eds. (2019). Shakespeare and Creative Criticism, New York: Berghahn.Google Scholar
Conroy, Derval, and Clarke, Danielle, eds. (2011). Teaching the Early Modern Period, Basingstoke: Palgrave Macmillan.Google Scholar
Corbett, Poppy, Compton, Kisby, Anna, , and Pooley, , William, G. (2022). Creative Histories of Witchcraft: France, 1790–1940, Cambridge: Cambridge University Press.Google Scholar
Jensen, Cox, Freyja, and Whipday, Emma. (2017). ‘“Original Practices and Historical Imagination”: Staging a Tragedie Called Merrie’. Shakespeare Bulletin 35(2), 289307.Google Scholar
Cramp, Andy. (2012). ‘Empowering “Non-traditional” Students in the UK: Feedback and the Hidden Curriculum’. In Basit, Tehmina N. and Tomlinson, Sally, eds., Social Inclusion and Higher Education, Bristol: Bristol University Press, pp. 237254. www.jstor.org/stable/j.ctt1t891n1.16.Google Scholar
Crenshaw, Kimberlé Williams, Harris, Luke Charles, HoSang, Daniel Martinez, and Lipsitz, George, eds. (2019). Seeing Race Again: Countering Colorblindness across the Disciplines, Oakland: University of California Press.Google Scholar
Dadabhoy, Ambereen, and Mehdizadeh, Nedda. (2023). Anti-Racist Shakespeare, Cambridge Elements: Shakespeare and Pedagogy,Cambridge: Cambridge University Press.Google Scholar
Davidson, Peter, and Stevenson, Jane. (2007). ‘Elizabeth I’s Reception at Bisham (1592): Elite Women as Writers and Devisers’. In Archer, Jayne Elisabeth, Goldring, Elizabeth, and Knight, Sarah, eds., The Progresses, Pageants, and Entertainments of Queen Elizabeth I, Oxford: Oxford University Press, pp. 207–26.Google Scholar
Dessen, Alan C. (1999). ‘Shakespeare’s Theatrical Vocabulary and Today’s Classroom’. In Riggio, Milla Cozart, ed., Teaching Shakespeare through Performance, New York: Modern Language Association of America, pp. 6377.Google Scholar
Donaweth, Jane. (1996). ‘Teaching Shakespeare in the Context of Renaissance Women’s Culture’. Shakespeare Quarterly 47(4), 476–89.Google Scholar
Dustagheer, Sarah, Jones, Oliver, and Rycroft, Eleanor. (2017). ‘(Re)constructed Spaces for Early Modern Drama: Research in Practice’. Shakespeare Bulletin 35(2), 173–85.Google Scholar
Dustagheer, Sarah, and Newman, Harry. (2018). ‘Metatheatre and Early Modern Drama’. Shakespeare Bulletin 36(1), 318.Google Scholar
Dustagheer, Sarah, and Woods, Gillian, eds. (2017). Stage Directions and Shakespearean Theatre, London: Arden Shakespeare.Google Scholar
Edwards, Jennifer. (2020). ‘“Amorous Pinches”: Keeping (In)tact in Antony and Cleopatra’. In Smith, Simon, ed., Shakespeare/Sense: Contemporary Readings in Sensory Culture, London: Arden Shakespeare, pp. 157–77.Google Scholar
Eklund, Hillary, and Hyman, Wendy Beth, eds. (2019). Teaching Social Justice through Shakespeare: Why Renaissance Literature Matters Now, Edinburgh: Edinburgh University Press.Google Scholar
Erickson, Peter, and Hunt, Maurice, eds. (2005). Approaches to Teaching Shakespeare’s Othello, New York: Modern Language Association of America.Google Scholar
Findlay, Alison. (2006). Playing Spaces in Early Women’s Drama, Cambridge: Cambridge University Press.Google Scholar
Findlay, Alison. (2014). ‘Reproducing Iphigenia at Aulis’. Early Theatre 17(2), 133–48.Google Scholar
Flaherty, Kate, Gay, Penny, and Semler, Liam E., eds. (2013). Teaching Shakespeare Beyond the Centre, Basingstoke: Palgrave Macmillan.Google Scholar
Fleming, Neil. (1992). ‘Not Another Inventory, Rather a Catalyst for Reflection’. To Improve the Academy 11, 137–43, https://vark-learn.com/wp-content/uploads/2014/08/not_another_inventory.pdf.Google Scholar
Forward, Tony. (2005). Shakespeare’s Globe: An Interactive Pop-Up Theatre, illustrated by Wijngaard, Juan, London: Walker Books.Google Scholar
Frank, Arthur W. (2019). ‘“Who’s There?”: A Vulnerable Reading of Hamlet’. Literature and Medicine 37(2), 396419.Google Scholar
Gibson, Marion. (2022). The Witches of St Osyth, Cambridge: Cambridge University Press.Google Scholar
Gibson, Rex. (1998). Teaching Shakespeare: A Handbook for Teachers, Cambridge School Shakespeare, Cambridge: Cambridge University Press.Google Scholar
Gikandi, Joyce W., and Morrow, Donna. (2016). ‘Designing and Implementing Peer Formative Feedback within Online Learning Environments’. Technology, Pedagogy and Education 25(2), 153–70.Google Scholar
Jonathan., Gil Harris (2007). ‘The Smell of Macbeth’. Shakespeare Quarterly 58(4), 465–86.Google Scholar
Gilligan, Carol. (1991). ‘Teaching Shakespeare’s Sister: Notes from the Underground of Female Adolescence’. Women’s Studies Quarterly 19(1), 3151.Google Scholar
Gowing, Laura. (1996). Domestic Dangers: Women, Words, and Sex in Early Modern London, Oxford: Clarendon Press.Google Scholar
Gurr, Andrew. (2004). Playgoing in Shakespeare’s London, 3rd ed., Cambridge: Cambridge University Press.Google Scholar
Gurr, Andrew, and Karim-Cooper, Farah, eds. (2014). Moving Shakespeare Indoors: Performance and Repertoire in the Jacobean Playhouse, Cambridge: Cambridge University Press.Google Scholar
Gutierrez, James. (2019). ‘An Enactive Approach to Learning Music Theory? Obstacles and Openings’. Frontiers in Education 4, www.frontiersin.org/articles/10.3389/feduc.2019.00133/full.Google Scholar
Gutierrez, Nancy. (1996). ‘Why William and Judith Both Need Their Own Rooms’. Shakespeare Quarterly 47(4), 424–32.Google Scholar
Hall, Kim F. (1996). ‘Beauty and the Beast of Whiteness: Teaching Race and Gender’. Shakespeare Quarterly 47(4), 461–75.Google Scholar
Hara, Noriko. (2009). Communities of Practice: Fostering Peer-to-Peer Learning and Informal Knowledge Sharing in the Work Place, Bloomington: Springer.Google Scholar
Harwood, William S. (2000). ‘The One-Minute Paper’. Journal of Chemical Education 73(3), 229–30.Google Scholar
Healey, Mick. (2005). ‘Linking Research and Teaching Exploring Disciplinary Spaces and the Role of Inquiry-Based Learning’. In Ronald Barnett, ed., Reshaping the University: New Relationships between Research, Scholarship and Teaching, Maidenhead: Open University Press, pp. 6778.Google Scholar
Hegland, Anna. (2021). ‘Digital Innovation and Embodied Practice’. Teaching Shakespeare 21, 1516.Google Scholar
Heron, Jonathan, Monk, Nicholas, and Prescott, Paul. (2012). ‘Letting the Dead Come Out to Dance: An Embodied and Spatial Approach to Teaching Early Modern Drama’. In Aebischer, Pascale and Prince, Kathryn, eds., Performing Early Modern Drama Today, Cambridge: Cambridge University Press, pp. 162–77.Google Scholar
Hibbert, Paul. (2020). ‘Reflective Frameworks for the Delivery of Teaching in Multiple Modes’. MKE Paper Series (BAM Management Knowledge and Education) 1, 116.Google Scholar
Hiscock, Andrew, and Hopkins, Lisa, eds. (2007). Teaching Shakespeare and Early Modern Dramatists, Basingstoke: Palgrave Macmillan.Google Scholar
Homan, Sidney, ed. (2019). How and Why We Teach Shakespeare: College Teachers and Directors Share How They Explore the Playwright’s Works with Their Students, London: Routledge.Google Scholar
hooks, bell. (1994). Teaching to Transgress: Education as the Practice of Freedom, New York: Routledge.Google Scholar
Hurley, Ann. (2000). ‘Archival Studies: Retrieving the “Nonexistent” Women Writers of the English Renaissance’. In Woods, Susanne and Hannay, Margaret P., eds., Teaching Tudor and Stuart Women Writers, New York: Modern Language Association of America, pp. 252–7.Google Scholar
Iyengar, Sujata. (2005). Shades of Difference: Mythologies of Skin Colour in Early Modern England, Philadelphia: University of Pennsylvania Press.Google Scholar
Iyengar, Sujata. (2014). Disability, Health, and Happiness in the Shakespearean Body, New York: Routledge.Google Scholar
Jackson, Norman, Oliver, Martin, Shaw, Malcolm, and Wisdom, James, eds. (2006). Developing Creativity in Higher Education: An Imaginative Curriculum, London: Routledge.Google Scholar
Jackson, Philip W. (1968). Life in Classrooms, revised ed. (1990), New York: Teachers College Press.Google Scholar
Jacques, David. (1984). Learning in Groups, 3rd ed. (2000), London: Kogan Page.Google Scholar
Jowett, John. (2007). Shakespeare and Text, revised ed. (2019), Oxford: Oxford University Press.Google Scholar
Kamaralli, Anna. (2013). ‘Teaching with Cue-scripts’. In Flaherty, Kate, Gay, Penny, and Semler, Liam E., eds., Teaching Shakespeare Beyond the Centre, Basingstoke: Palgrave Macmillan, pp. 169–79.Google Scholar
Karim-Cooper, Farah, and Stern, Tiffany, eds. (2015). Shakespeare’s Theatres and the Effects of Performance, London: Arden Shakespeare.Google Scholar
Kember, David, and Ginns, Paul. (2012). Evaluating Teaching and Learning: A Practical Handbook for Colleges, Universities and the Scholarship of Teaching, London: Routledge.Google Scholar
Kember, David, and Kelly, Martin. (1993). Improving Teaching through Action Research, Campbelltown: Higher Education Research and Development Society of Australasia.Google Scholar
Kirwan, Peter. (2014a). ‘“From the Table of My Memory”: Blogging Shakespeare In/Out of the Classroom’. In Carson, Christie and Kirwan, Peter, eds., Shakespeare and the Digital World: Redefining Scholarship and Practice, Cambridge: Cambridge University Press, pp. 100–12.Google Scholar
Kirwan, Peter. (2014b). ‘Introduction to Part II: Defining Current Digital Scholarship and Practice: Shakespeare Pedagogy and the Digital Age’. In Carson, Christie and Kirwan, Peter, eds., Shakespeare and the Digital World: Redefining Scholarship and Practice, Cambridge: Cambridge University Press, pp. 5862.Google Scholar
Knutson, Roslyn L., McInnis, David, and Steggle, Matthew, eds. (2020). Loss and the Literary Culture of Shakespeare’s Time, Basingstoke: Palgrave Macmillan.Google Scholar
Korda, Natasha. (2011). Labors Lost: Women’s Work and the Early Modern Stage, Philadelphia: University of Pennsylvania Press.Google Scholar
Kumpulainen, Kristiina, and Wray, David. (2002). Classroom Interaction and Social Learning: From Theory to Practice, New York: Routledge.Google Scholar
Lave, Jean, and Wenger, Etiene. (1991). Situated Learning: Legitimate Peripheral Participation, Cambridge: Cambridge University Press.Google Scholar
Leathwood, Carole, and O’Connell, Paul. (2003). ‘“It’s a Struggle”: The Construction of the “New Student” in Higher Education’. Journal of Education Policy 18, 597615.Google Scholar
Leggatt, Alexander, and Bamford, Karen, eds. (2002). Approaches to Teaching Renaissance Drama, New York: Modern Language Association of America.Google Scholar
Lengel, Traci, and Kuczala, Mike. (2010). The Kinesthetic Classroom: Teaching and Learning through Movement, Thousand Oaks: Sage.Google Scholar
Lewis, Sarah, and Whipday, Emma. (2019). ‘Sounding Offstage Worlds: Experiencing Liminal Space and Time in Macbeth and Othello’. Shakespeare 15(3), 272–82.Google Scholar
Loftis, Sonya Freeman. (2021). Shakespeare and Disability Studies, Oxford: Oxford University Press.Google Scholar
Maguire, Laurie. (2002). ‘Teaching Cary’s The Tragedy of Mariam through Performance’. In Leggatt, Alexander and Bamford, Karen, eds., Approaches to Teaching Renaissance Drama, New York: Modern Language Association of America, pp. 95–8.Google Scholar
Maguire, Laurie, ed. (2008). How to Do Things with Shakespeare: New Approaches, New Essays, Oxford: Blackwell.Google Scholar
May, Steven W. (2021). ‘The Renaissance Women’s Canon, Past, Present, and Future’. Criticism 63(1–2), 131–40.Google Scholar
McDonald, Russ. (2009). ‘Planned Obsolescence or Working at the Words’. In Shand, G. B., ed., Teaching Shakespeare: Passing It On, Oxford: Blackwell, pp. 2742.Google Scholar
McManus, Clare. (2002). Women on the Renaissance Stage: Anna of Denmark and Female Masquing at the Stuart Court (1590–1619), Manchester: Manchester University Press.Google Scholar
McManus, Clare. (2008). ‘When Is a Woman Not a Woman? Or, Jacobean Fantasies of Female Performance (1606–1611)’. Modern Philology 105(3), 437–74.Google Scholar
Monk, Nicholas, Carol, Chillington Rutter, Neelands, Jonothan, and Heron, Jonathan. (2011). Open-Space Learning: A Study in Transdisciplinary Pedagogy, London: Bloomsbury Academic.Google Scholar
Morss, Kate, and Murray, Rowena. (2005). Teaching at University: A Guide for Postgraduates and Researchers, London: Sage.Google Scholar
Munro, Lucy, and Whipday, Emma. (2020). ‘Making Early Modern “Verbatim Theater,” or, “Keep the Widow Waking”’. In Knutson, Roslyn L., McInnis, David, and Steggle, Matthew, eds., Loss and the Literary Culture of Shakespeare’s Time, Basingstoke: Palgrave Macmillan, pp. 233349.Google Scholar
Ostovich, Helen. (2007). ‘Early Modern Theatre History’. In Hiscock, Andrew and Hopkins, Lisa, eds., Teaching Shakespeare and Early Modern Dramatists, Basingstoke: Palgrave Macmillan, pp. 1445.Google Scholar
Palfrey, Simon. (2011). Doing Shakespeare, London: Arden Shakespeare.Google Scholar
Panjwani, Varsha. (2022). Podcasts and Feminist Shakespeare Pedagogy, Cambridge Elements: Shakespeare and Pedagogy, Cambridge: Cambridge University Press.Google Scholar
Elizabeth., Perritt Lee (1997). ‘The Learning Response Log: An Assessment Tool’. The English Journal 86(1), 41–4.Google Scholar
Purcell, Stephen. (2017). ‘Practice-as-Research and Original Practices’. Shakespeare Bulletin 35(3), 425–43.Google Scholar
Purkiss, Diane. (1996). The Witch in History, London: Routledge.Google Scholar
Raber, Karen. (2007). ‘Early Modern Women Dramatists’. In Hiscock, Andrew and Hopkins, Lisa, eds., Teaching Shakespeare and Early Modern Dramatists, Basingstoke: Palgrave Macmillan, pp. 218–34.Google Scholar
Rackin, Phyllis. (2016). ‘Why Feminism Still Matters’. In Callaghan, Dympna and Gossett, Suzanne, eds., Shakespeare in Our Time: A Shakespeare Association of America Collection, London: Arden Shakespeare, pp. 713.Google Scholar
Ramsden, Paul. (1992). Learning to Teach in Higher Education, London: Routledge.Google Scholar
Richards, Jennifer. (2019). Voices and Books in the English Renaissance: A New History of Reading, Oxford: Oxford University Press.Google Scholar
Riggio, Milla Cozart, ed. (1999). Teaching Shakespeare through Performance, New York: Modern Language Association of America.Google Scholar
Rocklin, Edward L. (2005). Performance Approaches to Teaching Shakespeare, Urbana: National Council of Teachers of English.Google Scholar
Rowley, Jennifer. (2003). ‘Designing Student Feedback Questionnaires’. Quality Assurance in Education 11(3), 142–9.Google Scholar
Shand, G. B., ed. (2009). Teaching Shakespeare: Passing It On, Oxford: Blackwell.Google Scholar
Smith, Bruce. (1999). The Acoustic World of Early Modern England, Chicago: Chicago University Press.Google Scholar
Smith, Emma. (2008). ‘“Freezing the Snowman”: (How) Can We Do Performance Criticism?’. In Maguire, Laurie, ed. How to Do Things with Shakespeare: New Approaches, New Essays, Oxford: Blackwell, pp. 280–97.Google Scholar
Smith, Simon. (2017). Musical Response in the Early Modern Playhouse, 1603–1625, Cambridge: Cambridge University Press.Google Scholar
Smith, Simon, ed. (2020). Shakespeare/Sense: Contemporary Readings in Sensory Culture, London: Arden Shakespeare.Google Scholar
Smith, Simon, and Whipday, Emma, eds. (2022). Playing and Playgoing in Early Modern England: Actor, Audience and Performance, Cambridge: Cambridge University Press.Google Scholar
Sousa, David A. (2011). How the Brain Learns, 4th ed., Thousand Oaks: Corwin Press.Google Scholar
Stern, Tiffany. (2004). Making Shakespeare: From Stage to Page, London: Routledge.Google Scholar
Stern, Tiffany. (2015). ‘“This Wide and Universal Theatre”: The Theatre as Prop in Shakespeare’s Metadrama’. In Karim-Cooper, Farah and Stern, Tiffany, eds. Shakespeare’s Theatres and the Effects of Performance, London: Arden Shakespeare, pp. 1132.Google Scholar
Stern, Tiffany, ed. (2020). Rethinking Theatrical Documents in Shakespeare’s England, London: Arden Shakespeare.Google Scholar
Strayer, Jeremy F. (2012). ‘How Learning in an Inverted Classroom Influences Cooperation, Innovation and Task Orientation’. Learning Environments Research 15(2), 171–93.Google Scholar
Straznicky, Marta. (2004). Privacy, Playreading, and Women’s Closet Drama, 1550–1700, Cambridge: Cambridge University Press.Google Scholar
Sullivan, Erin. (2014). ‘Internal and External Shakespeare: Constructing the Twenty-First-Century Classroom’. In Carson, Christie and Kirwan, Peter, eds., Shakespeare and the Digital World: Redefining Scholarship and Practice, Cambridge: Cambridge University Press, pp. 6374.Google Scholar
Swale, Jessica. (2015). Drama Games for Classrooms and Workshops, London: Nick Hern Books.Google Scholar
Thew, Neil. (2006). ‘Teaching Shakespeare: A Survey of the Undergraduate Level in Higher Education’. HEA English Subject Centre Report Series 13, 133.Google Scholar
Thomas, Miranda Fay. (2019). ‘“And So Everyone According to His Cue”: Practice-led Teaching and Cue-scripts in the Classroom’. In Homan, Sidney, ed. How and Why We Teach Shakespeare: College Teachers and Directors Share How They Explore the Playwright’s Works with Their Students, London: Routledge, pp. 128–37.Google Scholar
Thompson, Ayanna, and Turchi, Laura. (2016). Teaching Shakespeare with Purpose: A Student-Centered Approach, London: Bloomsbury.Google Scholar
Tiner, Elza C., ed. (2006). Teaching with the Records of Early English Drama, Toronto: University of Toronto Press.Google Scholar
Tullis, Jonathan G., and Goldstone, Robert L. (2020). ‘Why Does Peer Instruction Benefit Student Learning?’. Cognitive Research 5(15), https://doi.org/10.1186/s41235-020-00218-5.Google Scholar
Susan, Wagner Cook, Mitchell, Zachary, and Goldin-Meadow, Susan. (2008). ‘Gesturing Makes Learning Last’. Cognition 106(2), 1047–58.Google Scholar
Wall, Wendy. (2016). ‘Letters, Characters, Roots’. In Callaghan, Dympna and Gossett, Suzanne, eds., Shakespeare in Our Time: A Shakespeare Association of America Collection, London: Arden Shakespeare, pp. 1822.Google Scholar
Weimann, Robert. (2000). Author’s Pen and Actor’s Voice: Playing and Writing in Shakespeare’s Theatre, edited by Higbee, Helen and West, William, Cambridge: Cambridge University Press.Google Scholar
Wenger, Etienne. (1991). Communities of Practice: Learning, Meaning and Identity, Cambridge: Cambridge University Press.Google Scholar
Whipday, Emma. (2019a). Shakespeare’s Domestic Tragedies: Violence in the Early Modern Home, Cambridge: Cambridge University Press.Google Scholar
Whitfield, Petronella. (2020). Teaching Strategies for Neurodiversity and Dyslexia in Actor Training: Sensing Shakespeare, London: Routledge.Google Scholar
Williams, Nora J. (2019). ‘Writing the Collaborative Process: Measure (Still) for Measure, Shakespeare, and Rape Culture’. PARtake: The Journal of Performance as Research 2(1), https://partakejournal.org/index.php/partake/article/view/401/383.Google Scholar
Winston, Joe. (2015). Transforming the Teaching of Shakespeare with the Royal Shakespeare Company, London: Arden Shakespeare.Google Scholar
Woods, Gillian. (2017). ‘Understanding Dumb Shows and Interpreting The White Devil’. In Dustagheer, Sarah and Woods, Gillian, eds. Stage Directions and Shakespearean Theatre, London: Arden Shakespeare, pp. 287310.Google Scholar
Woods, Susanne, and Hannay, , Margaret, P., eds. (2000). Teaching Tudor and Stuart Women Writers, New York: Modern Language Association of America.Google Scholar
Coker, Helen. (2017). ‘Understanding Pedagogic Collaboration in the Online Environment’. PhD Thesis: University of Edinburgh.Google Scholar
Folley, Susan. (2013). ‘Bridging the Gap between Face-to-Face and Online Teaching: A Case Study Exploring Tutors’ Early Experiences of Teaching Online in a UK University 2009–2012’. PhD Thesis: University of Huddersfield.Google Scholar
Cary, Elizabeth. (1995). The Tragedy of Mariam. Directed by Elizabeth Schafer and recorded in October, Royal Holloway, www.youtube.com/watch?v=TOYsjNcG93w.Google Scholar
Daniel, Samuel. (2013). The Tragedie of Cleopatra. Directed by Emma Whipday, produced by Yasmin Arshad, and executive produced by Helen Hackett, performed at Goodenough College for UCL on 3 March, https://vimeo.com/302836585.Google Scholar
Jonson, Ben. (2016). Masque of Queens. Directed by Emma Whipday and produced by Nadine Akkerman and Daniel Starza Smith, New College Chapel, Oxford, 11 August for Shakespeare400, King’s College London, https://shakespeare400.kcl.ac.uk/kings-blog/ben-jonsons-masque-queens/.Google Scholar
Lumley, Lady Jane. (2013). Iphigenia at Aulis. Directed by Emma Rucastle for The Rose Company, 24 November, UCL (on tour).Google Scholar
Lumley, Lady Jane. (2020). Iphigeneya. Directed by Tom Bishop and introduced by Deanne Williams, at ‘The Female Experience in Early Modern England’ symposium, University of Auckland, 7 November, www.youtube.com/watch?v=MMIl71x_l2M.Google Scholar
Shakespeare, William. (2013). Twelfth Night (clip), Shakespeare’s Globe, Opus Arte, recorded in June 2012, www.youtube.com/watch?v=RDPT2e26SgY.Google Scholar
Arizona Center for Medieval and Renaissance Studies. (2021). ‘Education: A RaceB4Race Symposium’, https://acmrs.asu.edu/RaceB4Race/Education.Google Scholar
Bit Lit, A. (2020a). ‘Stay at Home Shakespeare 1: Emma Whipday Talks Witchcraft, Magic and Murder in Macbeth’. 2 April, https://abitlit.co/schools/stay-at-home-shakespeare-1-emma-whipday-talks-witchcraft-magic-and-murder-in-macbeth/.Google Scholar
Bit Lit., A (2020b). ‘Stay at Home Shakespeare 2: Emma Whipday on the Balcony in Romeo and Juliet’. 9 April, https://abitlit.co/series/stay-at-home-shakespeare-2-emma-whipday-on-the-balcony-in-romeo-and-juliet/.Google Scholar
Bit Lit, A. (2021). ‘Engendering the Stage: Making Space for an Inclusive Performance History’. 24 November, https://abitlit.co/history/engendering-the-stage-making-space-for-an-inclusive-performance-history/.Google Scholar
Bochicchio, Sarah. (2020). ‘1500–1599’. Fashion History Timeline, State University of New York, 18 August, https://fashionhistory.fitnyc.edu/1590-1599/.Google Scholar
The British Library. (1609). ‘Autograph Manuscript of Ben Jonson’s The Masque of Queens, 1609’. Discovering Literature, www.bl.uk/collection-items/autograph-manuscript-of-ben-jonsons-the-masque-of-queens-1609.Google Scholar
The British Library. ‘Elizabethan Dress Codes’. Learning, www.bl.uk/learning/timeline/item126628.html.Google Scholar
Cockett, Peter, Gough, , Melinda, Munro, Lucy, and McManus, Clare. (n.d.). Engendering the Stage, https://engenderingthestage.humanities.mcmaster.ca/.Google Scholar
Compton, Lindsey. (2020). ‘Lecture Watch Parties: Creating Community and Maximising Learning Opportunity- MicroCPD’. HEFi News and Media, University of Birmingham, 30 November, www.birmingham.ac.uk/university/hefi/news/2020/12/lecture-watch-parties-creating-community-and-maximising-learning-opportunity-microcpd.aspx.Google Scholar
Dadabhoy, Ambereen. (2021). ‘All Our Othellos: Reading Race through Teaching Editions of the Play’. RaceB4Race Symposium on Education, 22 January, www.youtube.com/watch?v=rBiWdcshiaU&t=7s.Google Scholar
Dadabhoy, Ambereen, and Mehdizadeh, Nedda. (2020). ‘Cultivating an Anti-Racist Pedagogy’. Folder Shakespeare Library: Critical Race Conversations, https://www.youtube.com/watch?v=_4oCWst1cPc.Google Scholar
Folger Shakespeare Library. (2020). ‘ Critical Race Conversations’. 9 July, www.youtube.com/watch?v=_4oCWst1cPc.Google Scholar
Folger Shakespeare Library. Early Modern Manuscripts Online, https://emmo.folger.edu/.Google Scholar
Folger Shakespeare Library. ‘The Folger Method’. Teach and Learn, www.folger.edu/the-folger-method.Google Scholar
Fumerton, Patricia et al. Early Broadside Ballads Archive, University of California at Santa Barbara, Department of English, https://ebba.english.ucsb.edu/.Google Scholar
MacNeill, Fiona. (2021). ‘Watch Parties: What, Why, Who, Where, How?’. Elearning Team, University of Brighton, 3 March, https://blogs.brighton.ac.uk/elearningteam/2021/03/03/watch-parties-what-why-who-where-how/.Google Scholar
Mansell, Charmian, and Hailwood, Mark, eds. (n.d.). Court Depositions of South-West England, 1500–1700, University of Exeter, http://humanities-research.exeter.ac.uk/womenswork/courtdepositions/.Google Scholar
MIT. Global Shakespeares Video and Performance Archive, https://globalshakespeares.mit.edu/.Google Scholar
Myles, Robert. The Show Must Go Online, https://robmyles.co.uk/theshowmustgoonline/.Google Scholar
The National Archives. ‘Early Modern Witch Trials’. Classroom Resources, www.nationalarchives.gov.uk/education/resources/early-modern-witch-trials/.Google Scholar
Ortelia Interactive Spaces. (2012). ‘The Rose Theatre Virtual Environment’. 9 May, www.youtube.com/watch?v=EApTZ1QuoHs&list=UU_NPXATOchnA2Q0QU6jZtmA&index=41.Google Scholar
Ray, Benjamin. Salem Witch Trials Documentary Archive and Transcription Project, University of Virginia, https://salem.lib.virginia.edu/home.html.Google Scholar
Reddit. ‘Am I the Asshole’, www.reddit.com/r/AmItheAsshole/.Google Scholar
Sander, Libby, and Bauman, Oliver. (2020). ‘Zoom Fatigue is Real: Here’s Why Video Calls are so Draining’. TED Ideas, 19 May, https://ideas.ted.com/zoom-fatigue-is-real-heres-why-video-calls-are-so-draining/.Google Scholar
Shakespeare Association of America. (2014). ‘Resurrecting Shakespeare (and His Sisters)’. SAA Annual Meeting, St Louis, www.shakespeareassociation.org/wp-content/uploads/2018/04/Resurrecting-Shakespeare-correspondence-.pdf.Google Scholar
Trust, Shakespeare Birthplace. ‘Shakespeare’s Theatres’, www.shakespeare.org.uk/education/teaching-resources/shakespeares-theatre/.Google Scholar
Theatres, Shakespearean London. De Montfort University, V&A, and AHRC, http://shalt.dmu.ac.uk/index.html.Google Scholar
Shakespeare’s Globe. Globe Player, www.shakespearesglobe.com/watch/.Google Scholar
Daniel., Starza Smith (2016). ‘Ben Jonson’s Masque of Queens’. Shakespeare400, King’s College London, 11 August, https://shakespeare400.kcl.ac.uk/kings-blog/ben-jonsons-masque-queens/.Google Scholar
Tailor, The Tudor. (2020–1). ‘Who Do You Think You Were?’, www.youtube.com/c/TheTudorTailor.Google Scholar
University of Auckland. (2020). ‘The Female Experience in England’, Early Modern. 6 November, www.youtube.com/watch?v=MMIl71x_l2M.Google Scholar
Wall, John et al. Virtual Pauls’ Cross Project: A Digital Re-creation of John Donne’s Gunpowder Day sermon, London 1622, https://vpcp.chass.ncsu.edu/.Google Scholar
Wall, Wendy, Knight, Leah. (2021). ‘Teaching with the Pulter Project Symposium’. 30 April–7 May, www.youtube.com/watch?v=uz7EDGbmT8Y.Google Scholar
Whipday, Emma. (2019b). ‘Witches at Night: Creative Responses to Early Modern Witch Trials’. Inner Lives: Emotions, Identity, and the Supernatural, 1300–1900, 16 September, https://innerlives.org/2019/09/16/witches-at-night-creative-responses-to-early-modern-witch-trials/.Google Scholar
Zafar-Arif, Shehrazade. (2016). ‘How Have Performances of Shakespeare Changed Over Time’. British Council Voices Magazine, 6 April, www.britishcouncil.org/voices-magazine/how-have-performances-shakespeare-changed-over-time.Google Scholar

Save element to Kindle

To save this element to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Teaching Shakespeare and His Sisters
  • Emma Whipday, Newcastle University
  • Online ISBN: 9781108975650
Available formats
×

Save element to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Teaching Shakespeare and His Sisters
  • Emma Whipday, Newcastle University
  • Online ISBN: 9781108975650
Available formats
×

Save element to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Teaching Shakespeare and His Sisters
  • Emma Whipday, Newcastle University
  • Online ISBN: 9781108975650
Available formats
×