Teaching Hamlet Adaptations

Today, I did three new things with my students that all worked much more effectively than I expected: I taught an article I wrote, we discussed seven different versions of the same scene from Hamlet, and we finished with William Sanders’ short story “The Undiscovered.”

I was hesitant about teaching my own article:  while it is about Shakespeare adaptation, my article is about an adaptation we’re not reading in class (Jasper Fforde’s Thursday Next series).  But since the particular course I’m teaching has the explicit goal of introducing undergraduates to the research performed by professors and graduate students at UConn, I felt it was important to actually show them my work.  I thought it would also have the added benefit of being an argument that I know inside and out, and I could also talk about what the drafts looked like (all 42 of them), the initial research questions that prompted the project, the scholarly conversations that I envisioned the project entering, etc. So for our actual discussion, I framed this as a writing exercise, rather than simply one more theoretical text.  We dissected it in terms of the moves that Joseph Harris discusses in his book Rewriting, which we’ve been using as our primary writing handbook.  We looked at moments where I “came to terms” with someone else’s argument, where I did forwarding, where I countered other arguments, and where I “took an approach” or used the driving questions from one project to interrogate another text.  My students did a great job figuring out how transitional moments are designed to cue the reader to these moves (especially countering).  Then I asked them to turn these issues on their head by coming to terms with my article, and then speculating about how they could forward, counter, or take an approach from my article.  As an exercise, it seemed to work really well, and I hope will help them when they start reviewing each other’s writing in a week.

The second activity for the day was a dissection of the “to be or not to be” playlist I had constructed on youtube for them.

We focused mostly on the “real” adaptations of the soliloquy, which go in chronological order after the “A Small Rewrite” sketch, starting with Olivier, followed by Burton, Gibson, Branagh, Hawke, and Tennant.  We also talked a little bit about the clip from Slings and Arrows, in which a director talks with his actor for Hamlet who isn’t sure about how to play the scene.  This clip is great because it gets students to think not just about the mis-en-scène, the shots, the acting, and the lines (which I had asked them all to focus on when they were watching the playlist before class) but also on the way actors/filmmakers bring awareness of other versions to their own adaptations, as well as the issues inherent in interpreting and setting up Hamlet’s speech with regard to whether he knows if Polonius, Claudius, and Ophelia are in the room, and whether or not Hamlet is aware of them, and how that can change the meaning of the scene.  My students did a fantastic job dissecting how the shots in each version worked, though they had a bit of a harder time interpreting the change in costuming and mis-en-scène in the Slings and Arrows clip.  At the end, students seemed to have universally liked Burton and Tennant’s versions the most, but for opposite reasons: Burton’s because it’s energetic, forceful, and thoughtful, all at the same time; Tennant’s because it was “spine-tingling” and causes the viewer to really feel how exhausted Hamlet is.  Branagh came in third because of the really fascinating over-the-shoulder shot into the mirror behind which Polonius and Claudius hide, but my students didn’t seem as enamored with his actual delivery.  I think they found Olivier’s version campy, Gibson’s bland in everything but setting, and didn’t quite know what to do with Hawke’s version out of context.

The final thing we discussed was William Sander’s short story “The Undiscovered,” which is an alternate history story in which Shakespeare accidentally gets shipped off to the New World, where he is captured by Native Americans and turned into a slave. He is then captured by another tribe, the Cherokees, which is where the short story starts, as narrated by a member of the Cherokee tribe.  Shakespeare learns their language(s), and he decides to translate Hamlet into a play for the Cherokee, but they all think Hamlet’s a comedy, and he swears off play-writing from then on. I was surprised by how much my students loved this story. It produced some of the most energetic discussion we’ve had all semester, and we’ve had some pretty energetic discussion. The story is great because it talks about the problems of cross-cultural translation, and also poses some challenges for the idea of the universality of Shakespeare’s genius.  My students did some “taking an approach” work on the fly, borrowing some of the critical moves I made in my article and thinking about whether they worked for this story, too (ultimate conclusion: yes, but with some caveats).




Research Scavenger Assignment for Shakespearean Adaptations class

The honors class I’m teaching this semester is technically “Literature through Reading and Research.”  I’ve already introduced them to the reading part, and next up is the first stage in teaching them how to do literary research. This will be an ongoing part of the semester, but next Thursday we have a whole day in the library, with no other reading or assignments due to the vagaries of needing to coordinate my class discussions with film viewings.

So, for the first day of discussing research methods, I’ve come up with a sort of digital scavenger hunt. Since the class is on Shakespeare, Adaptation, and Film, I decided I wanted them to explore some historic interpreters and adapters of Shakespeare’s plays.

  1. Richard Burbage
  2. William Davenant
  3. David Garrick
  4. Charles Lamb
  5. Thomas Bowdler
  6. Nicholas Rowe
  7. Nahum Tate
  8. Sarah Siddons

The students will pair up and draw one of these names from a hat.  I’ll give a brief lecture that includes an overview of the most effective ways to use Wikipedia/Google as a starting point for academic research, how to use our library’s databases, and the difference between primary and secondary sources. We’ll also briefly discuss the continuum of popular and scholarly sources. Then, I’m going to set them loose with the following set of questions, and an assignment to create a proper MLA Bibliography from the sources they find.

  1. What are the dates of this person’s life? (Indicate where you found this information)
  2. Are there any portraits of this person? If so, provide the bibliographic information for at least one.
  3. What is this person’s relationship to Shakespeare and/or Shakespeare’s plays? What plays is he or she most associated with? (Indicate how you determined this information)
  4. Did this person write any texts related to Shakespeare? If so, provide the bibliographic information for one.
  5. Are there any scholarly books focused on just this person?  If so, provide the bibliographic information for 1-2 of them.
  6. Are there any scholarly books focused primarily on the relationship between Shakespeare and this person (or between Shakespeare and some group this person was a part of)? If so, provide the bibliographic information for 1-2 of them.
  7. Use Google Books to do a search on this person and Shakespeare. Are there any results where the book title did not reveal that this might be a useful source? If so, provide the bibliographic information for 1-2 of them.
  8. Are any of the books from the previous three questions in our library?  If so, where would you find them on the shelves (give LC# and Physical Location, such as 4th Floor, North Side)?
  9. How many results appear for this person in the World Shakespeare Bibliography?
  10. Using the WSB, find the four most recent entries for scholarly publications related to this person, and provide bibliographic information for them.
  11. How could you locate/acquire these sources? (Are they widely available on the internet? Are they physically in our library? Available through UConn’s databases? Acquirable through Interlibrary Loan?)
  12. What is the most unusual or amusing search result that you found while researching this person?

I’m not sure I expect them to get through all of these questions in a single session, but I do want to push them.

First Day of Class

Today was the first day of the semester at UConn. I’m teaching a new class, English 2011: Literature through Reading and Research.  This is a relatively new class at UConn, too. It’s an honors course, meant to be a hybrid between the traditional first-year writing course and a more content-intensive literature course. These classes are usually taught in “pods,” with the pod led by a tenure-line faculty member and one or two graduate students, all sharing a common syllabus designed by the faculty member on a topic of his or her choice. However, the faculty member for our pod (one of my advisors) is on fellowship this year, and not teaching, so I was lucky enough to get to design the syllabus and schedule myself.

But this course is new for me in a couple of different ways: it’s my first honors course, it’s the first time I’m teaching an explicitly Shakespeare-and-pop-culture course, and it’s my first time teaching a theory-heavy course. The three of those together has me really exited but also filled with just a touch of trepidation. (It’s also my first time teaching Taming of the Shrew and Macbeth, but I am less inherently excited or trepidatious about teaching new plays.)

Since these were honors students, and they don’t have the option to switch between sections the way regular students do because of the limited number of classes, I was able to assign some advanced reading. This helps a lot in class with almost two hours of class time in each session (it’s a 4 credit class). I started with the first section of Julie Sanders’ Adaptation and Appropriation, which does a great job explaining the major critical issues in adaptation and appropriation studies, defining terms, and raising important issues.  I paired that with the Introduction of Douglas Lanier’s Shakespeare and Modern Popular Culture (which has the great title of “Where No Bard Has Gone Before”) and raises questions about the specific role of Shakespeare in culture.

And, wow, did my students rise the the challenge. The class blew me away.   I think I had the best first-day discussion (or even second-day discussion!) that I’ve ever had.  My students weren’t just getting the reading; they were thinking about where they needed to challenge the reading, drawing comparisons to things they are familiar with, and asking hard questions. I think all but one or two students spoke in class, but I’m also going to have to work to make sure the students who think well on their feet don’t overwhelm the students who need a bit more processing time.

The Prezi I designed for the class also went over really well.  (you can see it here: http://prezi.com/wkxs2_tau8ox/shakespeare-adaptation-and-film-day-1/?kw=view-wkxs2_tau8ox&rc=ref-3627685).  That felt good.

Overall, I am *thrilled* with this class so far.  It’s early days, but I’m really looking forward to the rest of this semester with this batch of students.