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Attracting High School Students to Shakespeare Through Supplementary Media

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Attracting High School Students to Shakespeare Through Supplementary Media “By Any Other Name Would Smell As Sweet” Attracting High School Students To Shakespeare Through Supplementary Media Submitted by Indigo Baloch As part of a Tutorial in Creative Writing April 14, 2017 Chatham University Pittsburgh, Pennsylvania ii Acknowledgements Thank you to Dr. Lynne Bruckner for her patience and guidance as my tutorial advisor. Thank you to my board members, Dr. Carrie Tippen and Dr. Katie Cruger, for joining me on this journey. Thank you to my fellow tutorial students, Monica Ballard and Jess Turner, for always providing me with vital feedback. Thank you to Tara, Justina, Claire, Claire, Brendan, and Sarah for putting so much faith in me. Thank you to Kaelin for the caffeine pills and flowers the night before tutorial was due. Thank you to my bees family—Alexis, Laney, Natalie, and Sara—for giving me a safe haven to vent and de-stress when the going got too tough. Thank you to Campus Kitty for always being there when I needed pet therapy. Thank you to all of my loved ones at Chatham and elsewhere who provided me with love and support through this wild ride. iii Table of Contents Critical Introduction: The Continued Relevance of Studying Shakespeare………………………………5 Chapter I: Why Do We Study Romeo and Juliet?……………………………………………….12 Chapter II: Adolescent Current Issues in Romeo and Juliet……………………………………..22 Part I. Lord Capulet as a Possessive Father……………………………………………...22 Part II. Toxic Masculinity in the Feud of the Capulets vs. Montagues………………….27 Part III. Romeo’s Romanticized, Sexually Coercive Behavior………………………….33 Part IV. Sex Positivity and the Women of Romeo and Juliet……………………………36 Epilogue: Further Studies………………………………………………………………………..39 Works Cited……………………………………………………………………………………...41 Creative Process Statement and Plot Summary……………………………………………………………43 Character List…………………………………………………………………………………….44 Act and Scene Summaries……………………………………………………………………….45 Verona High: An Excerpt………………………………………………………………………..47 Critical Bibliography…………………………………………………………………………….71 Creative Inspiration Bibliography……………………………………………………………….74 iv Introduction: The Continued Relevance of Studying Shakespeare William Shakespeare’s plays are taught in schools across the world. According to a 2010 survey headed by the Royal Shakespeare Company (RSC), 50% of the world’s students study Shakespeare. The survey includes responses from 43 countries and stated that 64 million students study Shakespeare every year (Irish 2). However, as time passes, the 16th-century English vernacular has become unfamiliar and difficult to digest for many people. And these obstacles become a commonly off-putting characteristic for younger generations. In the United Kingdom, Shakespeare is the only writer whose work is a required part of the curriculum (Rokison 1). Similarly in the United States, “the usual first encounter with Shakespeare by youth is in secondary education, in which the classroom becomes a site of resistance [and in response] an entire industry has sprung up for the purpose of marketing Shakespeare to youth,” that includes nearly every type of media you can imagine (Hulbert 1-2). For example, the Hip Hop Shakespeare Company attempts to bridge the gap between different communities and Shakespeare through combining “contemporary language, hip hop slang, and Shakespearean imagery” (Rokison 3). And this is not uncommon as many people link the poetry of Shakespeare to hip-hop and rap music. A visual example of this can be seen in the movie 10 Things I Hate About You (a modern adaptation of Shakespeare’s The Taming of the Shrew) when the English teacher raps Shakespeare’s Sonnet 141 for his class in an attempt to interest them in the topic. In the film, the students seem uninterested at first but as the teacher begins to rap, they become surprised and more engaged. While this is a film, it is often true that using more nontraditional teaching methods can help keep students alert and involved. Particularly, the RSC has been known for their dedication to attracting younger generations to Shakespeare. The RSC’s educational efforts date back to 1948, striving to make 5 Shakespeare accessible and palatable to students who are wary of the bard (Winston 1). Recently, RSC launched a Twitter campaign known as Such Tweet Sorrow (2010)—a social media production loosely based on Romeo and Juliet. Over the span of five weeks the RSC recreated the play through character Twitter accounts that live-tweeted their lines (Rokison 3-4). Such Tweet Sorrow reached out to the social media generation in a way that transformed the play to be more physically user-friendly and also showed the audience the continued flexibility of the play. Romeo and Juliet became people the audience could more easily visualize: a 19 and 15- year-old (respectively) of the millennial generation (3-4). Like the many Romeo and Juliet “modern retellings” that have come before, Such Tweet Sorrow delivered its targeted, young audience, modernized and relatable star-crossed lovers. This Romeo and Juliet used social media to communicate, met up at hipster bookstores and coffee shops, and went to school like the average millennial teenager (3-4). The project was run through several accounts, each having an average followings of 3,000 people. At one point, fans arranged an online wake for the project’s Mercutio, and Such Tweet Sorrow ultimately won a Royal Television Society Award for Digital Innovation (Mudlark 1). Such efforts, it appears, are necessary. In the RSC’s 2007 Attitude to Shakespeare (ATS) survey1, the majority of students had negative attitudes towards Shakespeare. Overall, only 18 percent agreed “Shakespeare is fun” and almost half (46 percent) said, “studying Shakespeare is boring.” And it is important to note that 49 percent agreed that they found Shakespeare difficult to understand. This means that 735 students out of 1,500 felt they were struggling to understand Shakespeare. Additionally, because the students seemed to find Shakespeare’s plays difficult, 1 The RSC’s 2007 Attitude to Shakespeare (ATS) survey was a survey that was completed by over 1,500 students beginning their Year 10 (equivalent to ninth grade in the United States) in urban and rural areas in England, and inclusive of a broad representation in terms of gender and ethnicity (Winston 2015, 134). 6 only 35 percent felt that, “It is important to study Shakespeare’s plays” (Winston 134). Clearly, the students’ difficulty processing Shakespeare’s plays is causing a widening barrier between students and Shakespeare’s works—although it is still possible to bridge the divide through fuller education of the plays. In the end, the greatest “key to this accessibility…is skillful, knowledgeable, and aesthetically aware teaching” (158). Young students need to be given more credit. If they are provided with the right tools and education to dissect Shakespeare, they can carry those skills with them for the rest of their lives to assess not only Shakespearean texts, but also perhaps even more arcane texts as well. While love for Shakespeare’s work is a different matter, there is surely a sense of appreciation that comes with understanding. Shakespeare’s plays are important because of their irreplaceable beauty, poetry, and nuanced complexities—making them indispensible. In Shakespeare Set Free: Teaching a Midsummer Night’s Dream, Romeo and Juliet, and Macbeth, performance editor Michael Tolaydo insists, We know Shakespeare’s plays are not about the plot; many in his audience knew the stories before they saw the plays. They are really more about explorations into human nature, about language, and about the ambiguity that much of that language presents. (27- 28) As Tolaydo explains, the true gift in Shakespeare’s work is the humanity and emotional response it elicits in its readers. Therefore, removing Shakespeare from curricula and replacing it with modern texts would take away a fundamental experience from students. Shakespeare’s plays are important because of their elasticity—allowing for new ways of reading with every generation. The Shakespeare we learn at a young age—from middle school through high school—can be very different from the Shakespeare we come to know as we age, change, and encounter new and 7 different experiences. Especially in the case of tragedies, the plays can take on new meaning for readers once they have combatted grief in their own lives. And on a larger scale—one beyond the individual, Shakespeare also changes for the entire human race, as the world and its cultures and societies changes throughout history. Rex Gibson, a teacher and lecturer in education at Cambridge University, and leader of Shakespeare and Schools Project (Wienand 134) writes, One reason why Shakespeare’s plays have proved so popular for so long is their infinite capacity for adaptation. As society changes, so do the meanings and significances found in the plays. For 400 years the plays have been interpreted and performed in an astonishing variety of ways (Gibson xii). Although Gibson focuses predominantly on theatre adaptations (rather than film), his belief in Shakespeare’s timeless elasticity is important to note. It furthers the argument that adapting Shakespeare’s work to modern settings and situations is not only possible, but also a valuable tool for younger audiences. In the RSC ATS survey, only 33 percent of the students disagreed with the statement “Shakespeare’s characters and situations are not relevant to life today”— meaning the majority failed to recognize most of the adaptations and references they encounter
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