Theatre+Production

Authored by Tessandra Swanson




 * I **am sure you are already aware that most adolescents dread not only the study of Shakespeare, but the thought of him. Upon exploration of this tool you will notice that the use of Multiliteracy is a very effective and engaging approach to inform students about Theater Production. The lesson plans provided are only one facet of an entire unit on Shakespearean Theater. The entire unit on Shakespearean Theater would not only address costumes and music, but the Globe Theater, stage sets, actors, character placement, manuscripts, speech as well as dance.

T heoretical Framework
Multiliteracy is one of the many ways to express Shakespearean Theater Production. Rather than simply focusing on traditional reading and writing skills, the focus is on a broader range of literacies such as the linguistic, visual, audio, gestural, spatial, oral and multimodal. The latter relates the first five modes of meaning to each other. [1] The Multiliteracies approach recognizes complexity, change, diversity, global connectedness and the current frictions between immersion and explicit teaching. [2] According to a team of academics, teachers and educational consultants for “Multiliteracies Learning Initiative,” “multiliteracies ( or 'multiple literacy practices') recognises that there are many kinds of literacy at work within our society. These include traditional literacy practices using texts such as Shakespeare as well as new literacy practices using texts of popular culture such as films." (For reference visit [])

P **edagogical Orientations**
The Multiliteracies pedagogical framework can also be considered in the context of three pedagogical orientations: transmission, social constructivist, and transformative. Transmission is the act of transmitting information from the curriculum directly to students. Social constructivist pedagogy focuses on the transmission and construction of knowledge among teachers and students, whereas transformative approaches to pedagogy emphasize the relevance of transmitting the curriculum, constructing knowledge, and enabling students to know how knowledge meets power. The idea or goal is for the students to become critical thinkers, to think outside the box. Research on these pedagogies suggests that deep reflection and understanding transpire when instruction builds on students’ prior knowledge and when the students actively cooperate in the classroom setting. [3] The function of transmission, transformative and social constructivist is illustrated below.

See image in Jim Cummins, “Multiliteracies Pedagogy and the Role of Identity Texts,” p. 86.

For more information on Multiliteracies and a list of scholars and teachers who research this theoretical framework, click on the PDF image. In order to download MLI publications you will be required to register for a free user account at [].

M **ultiliteracy: How is it Meaningful in the Classroom?**
By studying Shakespeare's plays and theater, students not only have the opportunity to read the text, but to perform, create and imagine embodying a character or being a famous playwrite. They are able to engage in the material by bringing their talents and prior experiences and knowledge to the classroom. They can express themselves in ways they never have before. As a result, the students may discover talents of which they were never aware.

A grade 8 class in Markham Gateway School helped produce, direct and act in three Shakespearean plays. This experience constructed an image of the students as intelligent, imaginative, and linguistically talented. The implementation of Multiliteracies enabled students to construct and act on “social realities” through dialogue, critical thinking and art. Jim Cummins suggests that Multiliteracy, “enables students to express and expand their linguistic and cultural capital.” [4]

L **earning Activities**
The following activities, mini-lessons or lesson plans are for Secondary School students. Activity #2 is directed more towards the senior levels.

** Activity #1: Designing a Shakespearean Costume **
By designing a Shakespearean costume or mask, students not only focus on reading and writing, but the visual, oral and multimodal. This activity inhibits students to be immersed in their work, connecting readings with a creative imagination.

The following activity is for in-class and should take approximately 50 to 75 minutes.

1). Students will be given a few handouts discussing costumes in the Shakespearean era. For handouts, click on the following links [] or []. Students will read the handouts on their own. Once finished they can either be alone or choose to be in a group to create a Shakespearean costume.

2). The class is given Plasticene, the option of using a computer program, construction paper, tissue paper, a stapler and tape. 3). Using one or all of these tools, students will create their costume or mask, drawing on the readings and their imagination. 3). After designing their costume or mask, students are to reflect on why or how this particular costume relates to those in Shakespeare’s plays (1/2 to 1 page in length). 4). Students must discuss why they used certain materials or design techniques for certain costumes or pieces of the costume. If time permits, reflections should be read aloud in class by each group. If not, let them hand-in their reflections. If not completed in class, the students have to hand it in the next day. The purpose of this activity is to see what students can create in a short amount of time and to gauge their ability to make connections between their reading and their own creation. It develops awareness of history, kinaesthetic skills, writing, reading, visual and auditory skills. It also develops communication and cooperation skills.

Plasticene, computers, construction paper, tissue paper, stapler and tape.
 * What You Need**

The following are some of the learning outcomes or expectations covered using this activity:
 * Learning Outcomes**
 * Students demonstrate an understanding of the content.
 * Students extend their understanding of the text to produce a costume or mask.
 * Students generate and develop ideas.
 * Students organize ideas.

** Activity #2: Shakespearean Music **
This lesson can be used with any Shakespearean play in which there are a number of references to music and songs. Such plays include, //A Midsummer Night's Dream, Twelfth Night, As You Like It, The Merchant of Venice,// //Hamlet, The Taming of the Shrew, The Tempest// and //Cymbeline//. The following lesson plan will enable students to become aware of the different instruments and possible music in Shakespearean theater. Students will also understand that particular lyrical music is implemented for particular reasons. The music can relate to the mood, theme or setting of the play.

1). Ask students to discuss how music is used to enhance the films and television shows they watch. Does it only provide entertainment, or does it contribute to the story or plot itself? Ask them to cite examples.

2). You may want to ask more advanced students to examine the use of music in specific plays in light of Butler’s argument in The Principles of Musik In Singing and Setting. In //The Merchant of Venice,// ask students to note 2.5.29–40, 4.1.48–63, and 5.1.57–97. Provide students with a [|hand out] concerning the probable instruments played in //The Merchant of Venice//. List how the musical instruments and songs illustrate the characters’ qualities. In this play, is music used to show social status? You could ask them to formulate a thesis about how music helps to define characters, and write a short paper defending their idea. If the school does not have copies of these books, you can find a copy of //The Merchant of Venice// at [] and a copy of //As You Like It// at [].

3). As a final activity, you may want to play recordings of music from the plays and the period. For a great example of music from Shakespeare's //As You Like It// (2.3.112-144), [|click here]. In order to hear music from //The Tempest// (1.3.18-22), [|click here]. For a good piece of music from //Twelfth Night// and //A Midsummer Night's Dream//, as well as other music from the Elizabethan and/or Shakespearean era, see the play list and "youtube" video below. For students who can read music and wish to perform songs from the plays or the period themselves, refer them to Ross W. Duffin’s //Shakespeare’s Songbook,// New York: W.W. Norton and Company, 2004.

media type="custom" key="7078507" width="70" height="70"

media type="custom" key="7078469" width="70" height="70" align="left"


 * What You Need**

Recordings of Elizabethan Music on compact disc (optional): //Shakespeare’s Songbook,// Volumes I & II, Azica ACD 72229, 2004. //Shakespeare’s Music,// Dorian Recordings, DOR-90017, 2000. You can refer to the following website for more information on Shakespeare's music: [|http://internetshakespeare.uvic.ca/Library/SLT/literature/shakespeare.html] //Shakespeare’s Musick: Songs and Dances From Shakespeare’s Plays,// Phillips Classics, 446 687-2, 1997. //Songs and Dances from Shakespeare,// Saydisc, SDL 409, 1995 __ "The Principles of Musik," __


 * Learning Outcomes**

The following are some of the learning outcomes or expectations covered in this activity:
 * Students identify the topic and purpose of the text.
 * Students demonstrate an understanding of content.
 * Students are able to generate and develop ideas.
 * Students make inferences.

Ideas for activity #2 derived from David M. Gutierrez’s lesson plan at []

C **ommentary and Reflections**
[1] Bill Cope and Mary Kalantzis, “Introduction.” //Multiliteracies: Literacy Learning and the Design of Social Futures// (London: Routledge, 1999), p. 7. [2] Martin Nakata, “History, Culture, Diversity and English Language Teaching.” //Multiliteracies: Literacy Learning and the Design of Social Futures//, pp. 106-120, esp., p. 119. [3] Cummins, p. 88. [4] Cummins, p. 93.

For the image concerning Transmission, Transformative and Social Constructivist, see image in Jim Cummins, “Multiliteracies Pedagogy and the Role of Identity Texts,” //Teaching for Deep Understanding: What Every Educator Should Know//, [|Kenneth A. Leithwood], [|Pat McAdie], [|Nina Bascia], eds (California: Corwin Press, 2006), pp. 85-93, esp., p. 86.