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political discourse of the period, examining the father-daughter theme and viewing them as family romance, and defining the dramaturgy of the late romances. The remaining thirteen essays focus on specific plays and explain how to use performance, audiovisual aids, and various historical and critical approaches to enhance the plays’ presentation.
International Perspective (42) Katarzyna Jakubiak Dutchman Heaped in Modern Cinema (51) William Thomas McBride Dramatic Histories Dutchman in the Drama Class (63) Meenakshi Ponnuswami Baraka’s Aesthetic Radicalism: Dutchman ’s Modernist Roots (71) Daniel Morris Breaking from the Beats: Teaching Dutchman as a Critique of Bohemianism (77) Kurt Hemmer Dutchman as Black Avant-Garde Historical Drama (84
practical ideas for the classroom. A final section describes scenarios for teaching the play through dramatic technique and for using Romeo and Juliet’s many adaptations, including the popular Zeffirelli and Luhrmann films.
british drama
the play from a variety of critical perspectives as well as describe specific approaches, such as focusing on theme and character, discussing dramatic and philosophical contexts, and analyzing the roles of the written text and of oral and visual performance.
Approaches to Teaching the Dramas of Euripides
The award-winning playwright August Wilson used drama as a medium to write a history of twentieth-century America through the perspectives of its black citizenry. In the plays of his Pittsburgh Cycle, including the Pulitzer Prize–winning Fences and The Piano Lesson , Wilson mixes African spirituality with the realism of the American theater and puts African American storytelling and
to work and fight and love in all the ways she knows how offers a window into the obstacles faced by George Sand, the prolific intellectual woman whom the popular press portrayed as a promiscuous, cigar-smoking oddity in trousers. “Strange that the most virile talent of our time should be a woman’s!” exclaimed a reviewer in 1838. Kathleen Robin Hart’s introduction contextualizes the drama
Curriculum: Groups, Crowds, and the Poetry of Public Occasion Ann A. Huse Forward from “Mac Flecknoe”: British Literature, 1660 to the Present Scott R. MacKenzie Drama Introducing John Dryden the Dramatic Margaret Anne Doody Teaching Marriage à-la-Mode in a Course on Restoration Comedy Will Pritchard Teaching Dryden’s Heroic Plays Daniel Gustafson and Elliott Visconsi Teaching the Passions in All for
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