This past weekend, we held our Winter Teacher Seminar, a two-day event where participants attend workshops and lectures and see two of the plays of the Actors' Renaissance Season. Thanks in part to a generous grant from the Richard and Caroline T. Gwathmey Memorial Trust, more educators than ever were able to join us – and we had a group from diverse teaching backgrounds: middle schools, high schools, and universities, public and private, military and religious, as well as some professional acting companies and arts organizations. We also had participants join us from as far away as Florida and Pennsylvania, as well as representing 16 cities and counties within Virginia. It was so exciting to have such a full, enthusiastic group with us for the weekend. I always feel so energized after these events, so full of joy for the work that we do together and for the new avenues of insight these educators feed back to me.
Saturday's workshops focused on Much Ado about Nothing, Sunday's on Richard III. Ralph drew connections between the two plays, and how each has its moments of invited and inappropriate laughter, and each its moments inviting or castigating silence. He drew a correlation between these moments on stage and in the classroom – after all, there are times teachers desperately hope that their students laugh at a joke, and there are times teachers abhor hearing laughter. He also encouraged the teachers to find their own personal hook within the play, something that calls to them and energizes them, and to teach those moments. Teaching requires no small part of vulnerability, to lay out the things you care for to what may often seem an unruly mob of the disaffected and cynical.
Saturday morning, we also modeled one of the activities out of the Much Ado about Nothing Study Guide. This one was my baby, and I'd been looking forward to working through it with our seminar attendees ever since I wrote it back in November – so I was actually fairly nervous heading in. Like any teacher, I have had, on occasion, something I'm really excited about flop rather pathetically when brought to the table. I always learn something from that experience – how I might need to tweak the activity, toss out elements that aren't working, or graft a new idea on – but failure isn't exactly pleasant to go through, however constructive it may ultimately be. So, heart in my hands, I stepped up to lead this workshop. And it went wonderfully(!).
The exploration is an active one, examining how language can inform character choices in the various sparring matches between Beatrice and Benedick. Participants – with the help of the rest of the class – look for moments when one character repeats the other, builds on a metaphor the other started, or arranges contrast of some kind. What the seminar attendees discovered – as I'd hoped they would – is that while Beatrice and Benedick use the same rhetorical devices with each other in three different scenes, the way they use them creates three very different moods, from the aggressive sparring of 1.1 to the tender hesitation of 4.1 to the playful equilibrium achieved in 5.2. We make these devices visual and kinetic – to appeal to different kinds of learners – by having our Beatrice and Benedick peg nerf balls at each other each time, highlighting the verbal tennis match they engage in. It was great to see at what moments one of them (usually Beatrice) was able to score more points.
I love this activity for how it demonstrates several different advantages of performance-based learning: first, how Shakespeare creates these characters as so right for each other. No one else in the play – even in a play as full of quick wits as Much Ado is – can quite match their verbal dexterity. Second, the activity highlights that "infinite variety" of performance choices Sarah and I are always talking about. The rhetoric gives actors – and students – not an answer, but the grounds on which to make a decision. Our avatar Beatrices and Benedicks were able to offer so many alternatives on even the smallest moment – it really drives home that idea of performance-based learning. Finally, this activity appeals to many different kinds of learners, as it involves verbal, textual, visual, and kinetic elements. Everyone from the class clown to the shiest member of the class has a place in this activity. I think all of those elements came across for our seminar attendees, and I'm so pleased I got to share this workshop with them.
You can view a sample of this workshop in-progress on YouTube:
The Gwathmey grant also allowed us to bring two guest speakers to Staunton, giving our participants the chance to interact with scholars whose research bears a direct emphasis on the plays they saw and their classroom activities. Chelsea Phillips, a veteran of MBC's MLitt/MFA program and now a third-year Ph.D. student at Ohio State University, came down to share thoughts related to her dissertation: the presence of pregnant bodies on stage. This discussion is particularly relevant this year, as Miriam Donald, who plays Beatrice in Much Ado about Nothing and the Duchess of York, among other roles, in Richard III, is visibly pregnant. We wanted to offer teachers – especially those bringing their students to see one of those two productions this year – the benefit of Chelsea's research into the historical precedent of pregnant actresses playing non-pregnant roles, in order to give them a solid grounding on which to base classroom discussion. Chelsea also works on Ohio State’s partnership with the Royal Shakespeare Company implementing the RSC’s Stand Up for Shakespeare program in local schools, making her a valuable resource on Shakespeare in the classroom. On Sunday, Carter Hailey joined us for a lecture-demo on textual variants. Carter has taught Medieval and Renaissance literature, Shakespeare, and textual studies at Washington and Lee University, the College of William and Mary (where yours truly was one of his students), Sweet Briar College, and Georgetown University, and he publishes on matters bibliographical, lexical, and editorial. In addition to discussing the textual histories of Much Ado about Nothing and Richard III, he shared Hailey’s COMET, a portable optical collator of his own design and construction, which provides critical editors with a new way of examining variants between texts. We synthesized Carter's lecture with an exploration of how to use textual variants in the classroom as a way to give students greater ownership of the text, allowing them to realize that there is no One Shakespeare to Rule Them All – rather, that the text as they see it has already passed through the hands of many compositors and editors, and that they may make choices based on this awareness.
So, that was the weekend. As ever, I wished I had more time. There's always so much more to say, more staging moments to discuss, more of Shakespeare's word- and stagecraft to explore. I'm already looking forward to our spring seminar, in April, when we'll be leaping into A Midsummer Night's Dream and The Winter's Tale. I'm also going to be releasing a survey soon, both to our seminar participants and to anyone who's purchased a Study Guide from us, asking for feedback on the information and activities we provide. It's interesting to have to examine what it is I need to know from our teachers – a sort of backwards self-evaluation. I'll be putting their feedback into practice when I start – very soon – building the Study Guides for next year. My first endeavor will be Twelfth Night, as we already have folks booking the touring company asking for it. I love seeing so much advance enthusiasm for the ASC's synthesis of education and performance. I extend my heartfelt thanks to everyone who joined us this past weekend, and I sincerely hope we'll see you all again soon.