Abstract and Keywords
This chapter considers ways to empower actors and audiences through 'a brand of performance pedagogy advanced by Dorothy Heathcote called ‘process drama’, which approaches a text (in this case, Shakespeare’s Taming of the Shrew) not by staging a single reading but by presenting multiple critical approaches in a single presentation as a way of demonstrating the script’s malleability while also generating ownership and critical engagement within the cast and the audience. The chapter details the methodology involved, centring on a college production which toured area high schools, thereby making educators of the student actors, and it underscores what worked best and what might work better. It assumes the essential foreignness of Shakespeare to many students, a foreignness which is steeped in class as well as history, and considers how the charged politics of an unfamiliar play can become urgently immediate through a reciprocal system of rehearsal and performance.
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