Folger Othello

8/10/2019 Folger Othello

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C U R R I C U L U M G U I D EFOR TEACHERS AND STUDENTS

A companion to the Folger Shakespeare Library Edition

O T H E L L O


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Shakespeare is for Everyone!Overview from Folger Education

Othello Synopsis

Characters in Othello

From One Classroom Teacher to Another

Tips for Teaching Shakespeare

Teaching Shakespeare FAQs

2 Lesson Plans

Famous Lines and Phrases from Othello

Othello Fact Sheet

Suggested Additional Resources

About the Folger

Image 1) Byron Company. Otello . Photograph, 1903. Folger Shakespeare Library. Image 2) Suli Holum(Desdemona) and Craig Wallace (Othello). Othello , directed by Aaron Posner, Folger Theatre, 2002. Photoby Carol Pratt. Image 3) Othello playbill. Ira Aldridge, playbill & illustrations, Theatre Royal Covent Garden .London, 1833. Folger Shakespeare Library. Image 4) O (2001). Directed by Tim Blake Nelson. LionsGate/Photofest. Lions Gate.

I N S I D E T H I S G U

O N T H E C O V E R :James Clarke Hook. Othellos description of Desdemona .Oil on canvas, ca. 1852. Folger Shakespeare Library.

See more images of Othello from the Folger collection atwww.folger.edu/digitalcollection.


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S hakespeare isnt an antiquated art form. His plays are full of explosive familysituations, complex relationships, and deep emotions that todays students canand dorelate to. At the Folger Shakespeare Library, we love to see students take

Shakespeare and make it their own. We believe that Shakespeare is for everyone and

that students of all ability levels can successfully engage with his works.

The best way to learn Shakespeare is to do Shakespeare. What does this mean?

Put simply, it is getting students up on their feet and physically, intellectually,

and vocally engaging with the text. We believe that students learn best using

a performance-based methodology and that performance can build a personal

connection with the text that traditional teaching methods may not.

Performancewhich is not the same thing as actingactivates the imagination.

Active learning invigorates the mind and stays with the learner. Shakespeares

genius with language, his skill as a dramatist, and his insight into the human

condition can instill even the least academically motivated student with a passion

not only for Shakespeare but also for language, drama, psychology, and knowledge.

The Lesson Plans and Tips for Teaching Shakespeare included in this Curriculum

Guide provide practical, classroom-tested approaches for using performance-

based teaching techniques. We have also included a Synopsis, a Fact Sheet,and Famous Lines and Phrases from the play and interesting facts to share with

students.

Remember that enthusiasm is more important than exper tise. There is always

more for everyone to learn, so enjoy the ride with your students!

Robert Young

Director of Education Folger Shakespeare Library

At the Folger, we love

to see students take

Shakespeare and make

it their own. We believe

that Shakespeare isfor everyone and that

students of all ability levels

can successfully engage

with his works.

Photos from Folger student Shakespearefestivals, classroom visits, and teacherworkshops by Mignonette Dooley, MimiMarquet, Deidra Starnes, and Lloyd Wolf.

S H A K E S P E A R E F O R E V E RY O N E


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In Venice, the soldier Iago tells Roderigo of his hatred for Othello, a Moorish generaland Iagos superior. Othello recently made Cassio his lieutenant, a position that Iagowanted. Othello has also secretly married Desdemona, the daughter of a Venetiansenator. Iago and Rodrigo go to Brabantio, Desdemonas father, and tell him of themarriage. Othello and Brabantio meet with the Duke of Venice, who orders Othello to takecharge of the Venetian army in Cyprus. Iago plots how he may use Othellos marriageas a means to revenge. Desdemona and Othello travel separately to Cyprus and are

joyfully reunited. Iago plans to provoke Cassio into a ght with Roderigo and to convinceOthello that Desdemona is in love with Cassio. After the ght, Othello strips Cassio of hislieutenancy, and Iago advises Cassio to enlist Desdemonas help in getting reinstated.Iago speaks with Othello, implying that Desdemona supports Cassio because he is herlover. Tormented by jealousy, Othello threatens to kill Iago unless he provides proof of

Desdemonas disloyalty. Emilia, Iagos wife, takes a handkerchief from Desdemona givento her by Othello and gives it to Iago. Iago then places Othello where he can see (butnot hear) a conversation with Cassio about Bianca, Cassios lover, and Iago tells Othellothat the vulgar conversation is about Cassio and Desdemona. He tells Othello that hehas seen Cassio with the handkerchief. Othellos fury grows, and, when she is unableto produce the missing handkerchief, he denounces Desdemona to her face, saying shehas been unfaithful. Later that evening, he wakes her and once again charges her withindelity. Over her protests of innocence, he smothers her. After Desdemonas death,Othello learns of her innocence and stabs himself. Iago is taken away to be tortured andkilled. Learn more at www.folger.edu/editions.

S Y N O P S I S

O T H E L L O

See more images from Othello at the Folger collection at www.folger.edu/digitalimagecollection .

Above: Scott Leonard Fortune (Jimmy) and Susan Lynskey (Wendy). Playing Juliet/Casting Othello by Caleen Sinnette Jennings, directed by Lisa Rose Middleton, Folger Theatre,1998. Photo by Ken Cobb. Below: William Satchwell Leney. Othello , act V, scene II, Desdemona in bed asleep . Engraving after Josiah Boydell, 1803. Folger Shakespeare Library.


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O T H E L L O

C H A R A C T E R C O N N E C T

Senators

Othelloa general in military

service to Venice

Desdemonawife to Othello,

daughter to Brabantio

a great admirer of Othello

IagoCassio Emilia

Clownservant to Othelloand Desdemona

Messenger Herald

Musicians Ofcers

Roderigo

CHARACTER KEYMain Characters in white

Secondary Characters in black

Montanoan ofcial of Cyprusof Venice

Duke of Venice

a Senator of Cyprus,father of Desdemona

BrabantioVenetian gentleman, kinsmen to Brabantio

Lodovico Gratiano

an honorable lieutenantin Othellos service

an ensign inOthellos company,husband to Emilia

wife to Iago, attendantto Desdemona

Biancaa courtesan,

in love with Cassio

Citizens Sailors

a Venetian gentleman,in love with Desdemona


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Dear Colleagues ,

Make no mistake: Othello works as well in the classroom as it doesin the theater. Its a dynamite play to teach. Students get hookedearly and stay with it to the end.

The play engages their emotions. This painfully modern-seeming

story of a noble black general, tricked and tempted into being hisworst self by an evil man he mistakenly trusts, has the power toshake certain students to their depths. Although teachers sometimesbelieve that the emotions the play explores are too adult for manyhigh-school students to understand, most students know more aboutsexual jealousy as a potentially tragic force than we like to think. Few,however can articulate that understanding well; Othello gives themwords for what they know but cant express.

It is a real asset that the study of Othello offers opportunities toconfront issues of race and violence, including domestic violence,which are all too alive today: students can discuss difcult subjects,subjects that need to be encountered and thrashed out, on the

neutral-seeming territory of a sixteenth-century play.

Ideally, teacher and students will discover the play together. Theteachers role is not to explain everything, but to allow studentsto experience for themselves the complexity and ambiguity of thiswonderful, terrible, beautiful play.

We are big on questions. We believe that questions are provocativeand that they may often uncover deeper meaning in a scene or truthsabout a character that simply do not occur to students who arediscovering a play for the rst time. Questions dont squelch studentsown ideas; on the contrary, they stimulate students to look moreclosely, respond more imaginatively. The best questions, of course,are those that do not have an answer.

Louisa Foulke NewlinHigh School Shakespeare InstituteWashington, DC

F R O M O N E C L A S S R O O T E A C H E R T O A N O T H E

Questions dont squelch students own ideas; on thecontrary, they stimulate students to look more closely,respond more imaginatively.

See performance-based teaching strategies inaction at www.folger.edu/teachervideos.

Mary Winslow PooleWashington International SchoolWashington, DC


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At the Folger, we believe that

Shakespeare is for everyone .

We believe that students of all

ability levels, all backgrounds, and at all

grade levels canand dosuccessfullyengage with Shakespeares works.

Why? Because Shakespeare, done

right, inspires. The plays are full of

explosive family situations and complex

relationships that adolescents recognize.

Performance is particularly crucial in

teaching Shakespeare, whose naked

language on the page may be difcult

to understand. Performance in this

sense does not mean presenting

memorized, costumed, fully staged

shows, although those can be

both satisfying and educational.

Performance means getting students

up on their feet, moving around a

classroom as characters, and speaking

the lines themselves.

Remember :1. Enthusiasm is more important

than expertisethere isalways more for everyone tolearn, so enjoy the ride withyour students!

2. Trust Shakespeares originallanguage, but dont labor overevery word.

3. Pick out key scenes that speakmost clearly to your students.You do not have to start withAct 1, Scene 1.

4. Use the text to explain the lifeand times, not vice versa.

The following two Lesson Plans willgive you practical ways to get startedusing this approach in your classroom.

Want More?Folger Educations ShakespeareSet Free Toolkit is a comprehensiveresource for teaching Shakespeare,with lesson plans, activity guides,podcasts, videos, and other teachingtools. Learn more atwww.folger.edu/toolkit .

Performing Shakespeare

even at the most rudimentary

level, script in hand, stumbling

over the difcult wordscan

and usually does permanently

change a students relationship

with the plays and their author.

T I P S F O R T E A C H I N G S H A K E S P E A R E


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How long does it take to teach a play?A Shakespeare unit can take anywherefrom a few days to a few weeks,depending on your students. You maywant to spend a few days to introduce

the plays major characters andthemes, or you could spend a coupleof weeks exploring several scenes, keyideas, and multiple interpretations.Full play units, such as the ones inShakespeare Set Free , can take up tosix weeks to teach. You do NOT needto start with Act 1, Scene 1 and you do NOT need to labor over every word.

Do I need to teach the entire play?Sometimes it is better to do just partof a play rather than the whole play.

Or you might opt for a Shakespearesampler, using several scenes fromdifferent plays.

Which edition of the play is best touse with students?The Folger Shakespeare Librarypaperback editions are relativelyinexpensive, and easy to use, with thetext on one page and footnotes andscene summaries on the facing page.Be aware that Shakespeare plays inliterature anthologies often edit out

some of the more bawdy contentcontent which students often love. Theyare also very heavy to carry aroundwhen students are performing scenes.

You can install the Free ElectronicShakespeare Reader on your harddrive on any Windows computer atwww.shakespeare.ariyam.com . This isa downloadable piece of software thatallows you to have all of Shakespeares38 plays instantly at your ngertips.Once you have it, there is no Internet

connection required. It also providesin-depth full-text searching to all ofShakespeares plays. You can alsodownload the text online from sites suchas www.opensourceshakespeare.org .

Should I start with the movie?One disadvantage with watching a lmversion rst is that students equatethis version with the play and havedifculty realizing that scenes and

Want More?Folger Educations ShakespeareSet Free Toolkit is a comprehensiveresource for teaching Shakespeare,with lesson plans, activity guides,podcasts, videos, and otherteaching tools. Learn more atwww.folger.edu/toolkit .

Tried and true triggerscenes for beginningShakespeare:

Othello , 1.1(Iago rudely awakens Brabantio)

Julius Caesar , 3.3(Cinna the poet is attacked by mob)

Hamlet , 1.1(Ghost appears to soldiers)

Macbeth , 1.3.38 onwards(Macbeth meets the witches)

A Midsummer Nights Dream , 1.2

(The rustic actors are introduced)

Much Ado About Nothing , 4.1(Beatrice urges Benedick to killClaudio)

Romeo and Juliet , 3.5(Juliet angers her parents) The Taming of the Shrew , 2.1(The two sisters quarrel)

Twelfth Night , 2.2(Malvolio returns ring to Cesario)

lines can be interpreted and enacted inmany different ways. One way aroundthis is to start with one scene whichyour students read and perform.Follow this activity by showing clipsfrom several lm versions of the samescene. This strategy enables allow forsome meaningful discussion aboutpossible interpretations.

What if I have never read the play before?Learn along with your studentsmodelfor them the enthusiasm and excitementthat comes with authentic learning.

Do I need to teach about the GlobeTheatre or Shakespeares Life?The simple answer is No. Whiletelling students that Shakespeare hadthree children and that he and AnneHathaway had to get married mightbe interesting, it really doesnt helpthem understand the plays. Its muchbetter to integrate some facts aboutElizabethan life when they come upin the plays. So when Francis Fluteprotests, Let me not play a woman. Ihave a beard coming in A MidsummerNights Dream , thats the perfectopportunity to explain the Elizabethanstage convention of young men playing

the female parts.Are student projects helpful?Designing Globe Theatres out of sugarcubes and Popsicle sticks, designingcostumes, creating Elizabethannewspapers in the computer lab, doinga scavenger hunt on the Internet,or doing a report on Elizabethansanitary conditions has nothing todo with a students appreciation ofShakespeares language. If you wantto give students a project, have them

select, rehearse, and perform a scene.What is a trigger scene? A trigger scene is a short scene froma play that introduces the studentsto key characters and plot elements.Most important, the trigger sceneshows students that they can uncoverthe meaning of Shakespeares texts asthey put the scene on its feet.

T E A C H I N G S H A K E S P E A


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Want more?Find more ideas and resources onteaching Othello atwww.folger.edu/teachingothello.

O T H E L L O | L E S S O N P L A N 1Divinity of hell!: Soliloquies, Cutting and Computers

Janet Field-Pickering served as Head

of Education at the Folger ShakespeareLibrary from 19962000.

Play/Scenes CoveredOthello, 2.3.356382. The lesson may alsobe adapted for other soliloquies.

Meeting the StandardsThis lesson plan covers NCTE Standards1, 3, 4, 6, 8, and 12.

Whats On for Today and WhyStudents struggle with soliloquiesthelanguage is poetically rich and dense,and they often complain, Why cantShakespeare just get to the point?This lesson sets students loose on thelanguage and gives them permissionto cut Shakespeare down to size. Inthe process of reducing a soliloquy tohalf its former length, students get aclearer understanding of a charactersthoughts and intentions. In debating whatis essential to the soliloquy and whatis expendable, they discover how thelanguage of the soliloquy works.

This lesson will take one to two class periods.

What To DoThis activity works best with a networkedcomputer lab in which each student worksat a computer. If, like many teachers, youdont have access to a networked lab orone computer per student, change thegroup size to four and have each groupwork together at one computer station.

1. Put the text of the Othello 2.3 soliloquy onevery computer screen. (Use the SoliloquyHandout as a reference for the text.)

2. Assign the students to groups of veand seat them at adjacent computers. Tellthem to read the soliloquy on the screen in

front of them. Their ultimate goal is to cut

the text in half. Their immediate task is tocut two or three lines and paste them belowthe asterisks at the bottom of the screen.

3. When the students have selected two orthree lines and moved them, play musicalcomputers. Hum a few bars of Pop Goesthe Weasel as each student in the groupmoves to the computer to his or her rightexcept for the fth person or group whocircles around to sit at the rst computer.A few rules: a line can mean an entireline or phrase. No student may move thesame line twice. The cut lines are movedbelow the asterisks in the order in whichthey are cutno deleting. The soliloquymust preserve its sense and meaningnorandom cuts for the sake of cutting.

4. Tell the students to read what is in frontof them, cut two or three more lines andpaste them below the asterisks. Have thestudents move from screen to screen inthis manner until at least ten lines appearbelow the asterisks on each screen and allthe members of a group have circled backto their original computer screens.

5. Save and print the altered texts. Haveeach group discuss its ve differentversions and select the best one. Print acopy of the new script for each member ofthe group.

6. Give each group ve to ten minutes togure out how to stage the nal script, witheveryone in the group participating (lines canbe shared or spoken in unison). Have eachgroup perform its version in front of the class.

7. After all the groups have performed,discuss the choices made.

Discussion Prompts:

Did any patterns emergewere all theperformed versions similar or different interms of the lines that were cut?

Did some versions seem to preserve themeaning of the text better than others?

Argue the case for discarded linesshouldthe lines be returned to the script or arethey expendable?

8. (Optional) Homework assignment: haveeach student create a new poem usingsome or all of the discarded lines.

What You NeedComputer lab

Othello Soliloquy Handout

How Did It Go?This lesson requires that students engagein a number of activities-text analysis,group work, performance, class discussion,and writing. If the students are activelyinvolved in all stages of the process, if theyare able to debate the relative merits ofindividual and group choices, if they takewords and phrases and create a poem

that might lead them even further in theirunderstanding of character or language,they will end up with a clearer understandingof how a soliloquy works and why.


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O T H E L L OSOLILOQUY HANDOUT |LESS

Act 2, scene 3Excerpted from Othello ,Folger Shakespeare Library Edition

And whats he, then, that says I play the villain,When this advice is free I give and honest,Probal to thinking, and indeed the courseTo win the Moor again? For tis most easy Th inclining Desdemona to subdueIn any honest suit. Shes framed as fruitfulAs the free elements. And then for herTo win the Moor(weret) to renounce his baptism,All seals and symbols of redeemd sinHis soul is so enfettered to her loveThat she may make, unmake, do what she list,Even as her appetite shall play the godWith his weak function. How am I then a villainTo counsel Cassio to this parallel courseDirectly to his good? Divinity of hell!When devils will the blackest sins put on,They do suggest at rst with heavenly shows,

As I do now. For whiles this honest foolPlies Desdemona to repair his fortune,And she for him pleads strongly to the Moor,Ill pour this pestilence into his ear:That she repeals him for her bodys lust;And by how much she strive to do him good,She shall undo her credit with the Moor.So will I turn her virtue into pitch,And out of her own goodness make the netThat shall enmesh them all.

Sample Cut Soliloquy

And whats he then that says I play the villain,When this advice is free I give and honest,the courseTo win the Moor again? For tis most easyThinclining Desdemona to subdueIn any honest suitHow am I then a villainTo counsel Cassio to this parallel courseDirectly to his good. For whiles this honest foolPlies Desdemona to repair his for tune,And she for him pleads strongly to the Moor,Ill pour this pestilence into his ear:That she repeals him for her bodys lust;And by how much she strive to do him good,She shall undo her credit with the Moor.So will I turn her virtue into pitch,And out of her own goodness make the netThat shall enmesh them all.

Probal to thinking, and indeedShes framed as fruitfulAs the free elements. And then for herTo win the Moorweret to renounce his baptism,All seals and symbols of redeemed sinEven as her appetite shall play the godWith his weak function.His soul is so enfettered to her loveThat she may make, unmake, do what she list,Divinity of hell!When devils will the blackest sins put on,They do suggest at rst with heavenly shows,As I do now

DIVINITY OF HELL! SOLILOQUIES, CUTTING, AND COMPUTERS


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O T H E L L O | L E S S O N P L A N 2M T V O T H E L L O

Want more?

Find more ideas and resources onteaching Othello atwww.folger.edu/teachingothello.

Susan M. Kochman Hempeld Area High SchoolGreensburg, PA

Play/Scenes CoveredOthello, 4.3.4362

Meeting the Standards

This lesson plan covers NCTEStandards 1, 3, and 4.

Whats On for Today and WhySongs are often overlooked inShakespeares plays; this lack ofattention will be addressed by havingstudents dramatize DesdemonasWillow Song. Creating a choralreading, singing and performing thesong, or staging a music video helpsstudents recognize how music andlyrics contribute to the mood and

meaning of a scene. The studentscreativity and active participation inwhatever form the dramatization takeswill make both the song and scenemore memorable.

This lesson will take one to two classperiods.

What To Do1. Ask students to recall any plays theyhave read or seen that have songs ormusic in them. (If they cant think ofany plays, try movies.) Discuss specic

examples and their responses to thesesongs or music, and note what effectsthe songs produced on the audience.

2. Tell students that they will create aperformance of a song in Othello . Readaloud Othello 4.3 up to line 62. Discuss

the meaning and mood of the lines.3. Divide students into groups offour or ve and have them prepare adramatization of Desdemonas song.Have each group script the song,parceling out lines and phrases todifferent students, or perhaps saying orsinging certain lines all together. Eachperson in the group must contributeeither by reading, singing, actingout a part, or adding sound effects.Encourage the students to be creativein scripting their choral reading. Theymay also choose to set the words to amodern tune or write their own musicfor the song.

4. Each group will present its versionof the song to the class. When all thegroups have performed, discuss whatthe students discovered throughoutthe process, noting differencesamong groups in performance andinterpretation, and determining what thesong contributes to the scene.

What You Need

Folger edition of Othello

Video camera and video editingsoftware (optional)

How Did It Go?

Discussing the exercise afterwardswill reveal students understandingof the effects of songs on drama.Having students write their individualreactions in a journal prior to classdiscussion is an effective means ofpreparing students for discussion.

Extend this activity over a few moredays to allow the students to bringin costumes and props and lm thestudents performances for laterviewing and analysis.

If you test at the end of the unit,include an essay question that asksstudents to discuss specicallyhow Desdemonas song enhancesthe mood of the scene and theirunderstanding of the play.


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There are numerous lm versions of Othello , includinga 2000 adaptation set at an exclusive boardingschool where O is the schools star basketball

player and only black student.

D I D Y O U K N O W ?

Composer Giuseppe Verde wrote an operaentitled Otello that was based on Shakespeares

play and premiered in Milan in 1887.

Shakespeare used several sourcesfor the plot of Othello , including the

Hecatommithi , a collection of storiesby the Italian novelist and poet

Giovanni Battista Giraldi.

Othello was rst performedin 1604 at the royal court

of King James I.

Learn more atwww.folger.edu/shakespeare.

Until 1943, only white actors played the roleof Othello in the United States. Paul Robeson,an All-American football player and graduate ofColumbia Law School, became the rst black

actor in the 20th century to play the part.

Dominic West, who played Detective JimmyMcNulty in HBOs series The Wire , performed

the role of Iago in a 2011 British stageproduction of Othello .

The town of Othello, Washington isnamed for the playand also hasstreets called Macbeth and Hamlet.


13/15

Did you know youre quoting

Shakespeare when you say

I will wear my heart upon my sleeve Iago1.1.70

She sworetwas strange, twas passing strange Othello1.3.18485

I am nothing if not critical. Iago2.1.134

When devils will the blackest sins put on,They do suggest at rst with heavenly shows Iago2.3.37172

Be as your fancies teach you Desdemona3.3.98

O, beware, my lord, of jealousy!It is the green-eyed monster Iago3.3.19596

Tries light as airAre to the jealous conrmations strongAs proofs of holy writ. Iago3.3.37072

Heaven truly knows that thou art false as hell. Othello4.2.48

That deaths unnatural that kills for loving. Desdemona5.2.48

As ignorant as dirt!

Emilia5.2.200

one that loved not wisely, but too well Othello5.2.404

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Shakespeare Set Free

The Shakespeare Set Free series offers innovative, performance-based approachesto teaching Shakespeare from the Folger Shakespeare Library, the worlds leadingcenter for Shakespeare studies. This volume includes unit plans on Othello andTwelfth Night and day-by-day teaching strategies that successfully immerse studentsof every grade and skill level in the language and the plays themselvescreated,taught, and written by real teachers in real classrooms.

Available at the Folger Gift Shop 2026750308, or www.folger.edu/shop.

Shakespeare Set Free Toolkit

Think of it as Shakespeare in a box! Everything you need to teach Shakespeare, allin one place: the Doing Shakespeare Right guide to getting started; Shakespeare SetFree curriculum guide; two-line scene cards; a ash drive with instructional videos,

podcasts, handouts, scripts, and images; The Plays the Thing DVD that follows a 5 th grade class preparing for a festival; and the Macbeth Edition DVD, which includes alm of the smash 2008 Folger Theatre/Two River Theater Company production.

Available at the Folger Gift Shop 2026750308, or www.folger.edu/shop.

Play-by-Play: Othello

Folger Educations Play-by-Play website section contains resources on each of themost commonly taught plays, all in one place. Find Othello lesson plans, podcasts,videos, and more.

Learn more at www.folger.edu/teachingothello.

Making a Scene: Shakespeare in the Classroom

Folger Educations blog features new ideas, tips, and resources for teachingShakespeare. With the teaching community commenting, Folger educators explorewhat works and what doesnt in todays classroom. Join the conversation!

Learn more at www.folger.edu/edblog.

Bard NotesA monthly update just for teachers with our newest classroom activities, lessonplans, teacher workshops, and more for K12 educators.

Learn more at www.folger.edu/enews.

S U G G E S T E D A D D I T I O N A R E S O U R C E S


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o f f e r i n g a d v a n c e

d s c h o l a r l y p r o g r a

m s i n t h e

h u m a n i t i e s ; a n i n

n o v a t o r i n t h e p r

e s e r v a t i o n

o f r a r e m a t e r i a l s ;

a n a t i o n a l l e a d e r

i n h o w

S h a k e s p e a r e i s t

a u g h t i n g r a d e s

K 1 2 ; a n d

a n a w a r d - w i n n i n g

p r o d u c e r o f c u l t u

r a l a n d a r t s

p r o g r a m s t h e a t

e r, m u s i c, p o e t r y,

e x h i b i t s ,

l e c t u r e s , a n d f a m

i l y p r o g r a m s . B y p

r o m o t i n g

u n d e r s t a n d i n g o f

S h a k e s p e a r e a n d

h i s w o r l d ,

t h e F o l g e r r e m i n d

s u s o f t h e e n d u

r i n g i n u e n c e

o f h i s w o r k s , t h e

f o r m a t i v e e f f e c t s

o f t h e

R e n a i s s a n c e o n o u

r o w n t i m e , a n d t h

e p o w e r

o f t h e w r i t t e n a n d s p o k e n

w o r d . A g i f t t o t h

e

A m e r i c a n p e o p l e

f r o m i n d u s t r i a l i s t H e n

r y C l a y

F o l g e r, t h e F o l g e r

l o c a t e d o n e b l o c k

e a s t o f

t h e U. S . C a p i t o l

o p e n e d i n 1 9 3 2 .

O u r F o l g e r E d u c a

t i o n d i v i s i o n i s a

l e a d e r i n

h o w S h a k e s p e a r e

i s t a u g h t t o d a y. I

t p r o v i d e s

o n l i n e r e s o u r c e s

t o m i l l i o n s o f t e a c

h e r s a n d

s t u d e n t s i n g r a d e

s K 1 2 e a c h y e a r

, t r a i n s

t e a c h e r s a c r o s s

t h e c o u n t r y i n p e

r f o r m a n c e -

b a s e d t e a c h i n g o

f S h a k e s p e a r e , h

o s t s

s t u d e n t S h a k e s p

e a r e f e s t i v a l s a n

d f a m i l y

p r o g r a m s , a n d p u b l i s

h e s t h e g r o u n d b

r e a k i n g

Sh a k e s p e a r e S e t Fr e e s e r

i e s a n d t h e F o l g e

r

E d i t i o n s , t h e l e a d

i n g S h a k e s p e a r e t e x t s

u s e d

i n A m e r i c a n c l a s

s r o o m s t o d a y.

Folger Othello

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