Shakespeare Modernized

This article will examine a fresh way of reading and understanding Shakespeare through, what is called, "parallel scenes."

Sometimes it's not enough for students to perform the scenes. What happens, you wonder, when students only skim the lines and read them monotonously? Isn't there a better way to have learners play the scenes?

The short answer is yes! But how do we accomplish this?

In his article, "Teaching Shakespeare through Parallel Scenes," Michael Flachmann explores the practice of "parallel scenes" and describes them as "one of the easiest and most effective devices for involving students in the action of a Shakespearean play."

Wow, where do we sign up?

There are myriad ways to practice parallel scenes. First of all, decide upon a scene within the play you are reading. As an example, we'll look at The Tempest, Act 1, Scene 2 in which Prospero is describing his history to his daughter Miranda, who falls asleep listening to his stories.

Flachmann says that first he asks his students to read the scene while deciding on a more contemporary setting. Prospero and Miranda are in a cave on an isolated island. Perhaps your learners could substitute that scene for a typical child's bedroom in a modern home. Assemble contemporary props for the scene and ask your students to "play" the scene without looking at the actual text. Allow your students to make up their own dialogue while sticking to the overall plot of the scene.

For example, "Prospero" could say to Miranda: "Your uncle is a terrible person! I was studying at night school, working on my Ph.D., and so I let your uncle run the family business for a while. You remember, I was at my desk typing out papers late in the night, highlighting books and articles and essays, and running off nothing but coffee. Are you even listening?"

To which "Miranda" could pretend she's falling asleep from boredom: "Yeah, I know, Dad."

"Prospero": "I know I started neglecting the store and my family, but it was for a good reason! I was only trying to be better educated, so I could get an even better job and take care of you. I thought your uncle knew that, so I trusted him. But all that time, he was plotting to take over the store, and he did! Are you listening?"

"Miranda": "Yeah, yeah. The neighbors can probably hear you."

"Prospero": "I got all wrapped up in my school work. It felt great to be a student again! And your uncle, never owning a thing in his life, started thinking that he could run the store. He updated the computer system and claims that 'I don't know what I'm doing anymore,' but he shut me out!"

"Miranda": "He shouldn't have done that!"

Notice that I do not sound a bit like Shakespeare, but rather I created a contemporary parallel to that scene. Doing so, Flachmann says, "helps students identify closely with the characters," as they become contemporaries of Shakespeare. Creating these contemporary parallel scenes allows learners to play with Shakespeare, to interpret the scenes first and the language second.

Ordinarily, lessons rely on left-brain approaches--reading, writing, logic, etc., but parallel scene creations "encourages right-brain conceptual involvement." These types of interpretations also work for those students who get tripped up on Shakespeare's language. It provides students with the free reign to creatively interpret a scene and make it their own.

The next time your family gets stuck on a scene, try creating contemporary parallel scenes!

Flachmann, Michael. "Teaching Shakespeare Through Parallel Scenes." Shakespeare Quarterly. 35: 5. Special Issue: Teaching Shakespeare. (1984). 644-646. JSTOR. Web.