This practical handbook is invaluable for anyone performing, teaching, studying or simply wanting a new way to enjoy Shakespeare. It provides an outline of Meisner's work and legacy, a discussion of that legacy in the light of the enduring global popularity of Shakespeare, and a wealth of practical exercises drawn from Meisner's techniques. Shakespeare writes about the truth in human relationships and human hearts. Sanford Meisner's work unlocks truthful acting. They would seem a perfect match. Yet, following Meisner's note to his actors that 'text is your greatest enemy', Shakespeare and Meisner are often considered 'strange bedfellows'. The rhetorical complexity of Shakespeare's text can often be perceived as rules an actor must learn in order to perform Shakespeare 'properly'. Meisner's main rule is that 'you can't say ouch until you've been pinched': in other words, an actor must genuinely feel something in order to react in a performance which is alive to the moment. This book explores how actors can use Meisner's tools of 'acting is reacting' to discover the infinite freedom within the apparent constraints of Shakespeare's text.

This book provides an overview of theatre-based teaching of Shakespeare and offers a comprehensive exploration of the educational principles underpinning the practice. Through exploring how and why theatre-based practice in the classroom can open up the possibilities of Shakespeare study, it investigates how different understandings emerge from our ever-shifting experiences of language and culture. This book empowers Shakespeare educators in supporting young people, aged 15–20, to interact critically, creatively and collaboratively with the cultural inheritance of Shakespeare’s texts. Drawing on the authors’ range of scholarly experience, and practical work with organizations, including the Royal Shakespeare Company, Shakespeare’s Globe, the Folger and Shakespeare Schools Foundation, Part One engages in lively dialogue with core questions of Shakespeare’s educational and cultural positions within the classroom. Part Two is based around a series of interviews with key practitioners from a range of Shakespeare performance and education organizations, exploring the core principles and practices behind their work and how these translate into the range of resources and programmes they offer. Part Three focuses on the experiences of practicing classroom teachers, realistically reviewing the opportunities and constraints of teaching through theatre-based approaches, with contributions from a diverse set of teachers who have found success with young people in different contexts and with different challenges.

This practical handbook is invaluable for anyone performing, teaching, studying or simply wanting a new way to enjoy Shakespeare. It provides an outline of Meisner’s work and legacy, a discussion of that legacy in the light of the enduring global popularity of Shakespeare, and a wealth of practical exercises drawn from Meisner’s techniques. Shakespeare writes about the truth in human relationships and human hearts. Sanford Meisner's work unlocks truthful acting. They would seem a perfect match. Yet, following Meisner’s note to his actors that 'text is your greatest enemy’, Shakespeare and Meisner are often considered ‘strange bedfellows’. The rhetorical complexity of Shakespeare’s text can often be perceived as rules an actor must learn in order to perform Shakespeare ‘properly’. Meisner’s main rule is that 'you can’t say ouch until you’ve been pinched’: in other words, an actor must genuinely feel something in order to react in a performance which is alive to the moment. This book explores how actors can use Meisner’s tools of ‘acting is reacting’ to discover the infinite freedom within the apparent constraints of Shakespeare’s text.

This book provides an overview of theatre-based teaching of Shakespeare and offers a comprehensive exploration of the educational principles underpinning the practice. Through exploring how and why theatre-based practice in the classroom can open up the possibilities of Shakespeare study, it investigates how different understandings emerge from our ever-shifting experiences of language and culture. This book empowers Shakespeare educators in supporting young people, aged 15–20, to interact critically, creatively and collaboratively with the cultural inheritance of Shakespeare’s texts. Drawing on the authors’ range of scholarly experience, and practical work with organizations, including the Royal Shakespeare Company, Shakespeare’s Globe, the Folger and Shakespeare Schools Foundation, Part One engages in lively dialogue with core questions of Shakespeare’s educational and cultural positions within the classroom. Part Two is based around a series of interviews with key practitioners from a range of Shakespeare performance and education organizations, exploring the core principles and practices behind their work and how these translate into the range of resources and programmes they offer. Part Three focuses on the experiences of practicing classroom teachers, realistically reviewing the opportunities and constraints of teaching through theatre-based approaches, with contributions from a diverse set of teachers who have found success with young people in different contexts and with different challenges.