Education Commons^™

Review Of Royal Shakespeare Company Production Of Mary Pix’S The Beau Defeated, Retitled The Fantastic Follies Of Mrs. Rich, Aparna Gollapudi

ABO: Interactive Journal for Women in the Arts, 1640-1830

Jo Davies’s reprise of Mary Pix’s comedy The Beau Defeated, Or The Lucky Younger Brother,performed by the Royal Shakespeare Company at Swan Theatre in Stratford-upon-Avon under the title The Fantastic Follies of Mrs. Rich refocuses the comedy from its original engagement with primogeniture and middling class masculinity towards the female characters. It also diffuses Pix’s Whiggish moralism in Mrs. Rich's portrayal, highlighting instead her energy and verve. Overall, a very successful production, the performance is more Restoration comedy than the transitional work that Pix's play was when it opened in 1700.

Utilizing Project-Based Learning To Increase Engagement And Performance In The High School Classroom, Alan English

Prairie Journal of Educational Research

Abstract

Project-based learning was incorporated into a high school American History course unit where students were expected to write an original history of the Vietnam War based exclusively on primary sources. Throughout the school year, students working as a collective unit worked to raise funds at school events for the purpose of surprising a class guest speaker, a Vietnam veteran, with a sponsored flight to Washington D.C. through Kansas Honor Flights. In addition to creating an experience of civic participation, student engagement (as measured by rate of completion of the project) and performance (as measured by average grade on the …

New Identities New Voices: Introducing The Choreographer-Notator, Beth Megill

Journal of Movement Arts Literacy Archive (2013-2019)

In this practitioner’s perspective paper, the author discusses an experience in which she notated a piece of her choreography using a combination of Labanotation and Motif Notation with the intent of setting the repertory from the score on a group of contemporary dancers, who had never read notation before. She explains her goals as a choreographer and notator proposing a fused creative identity, the Choreographer-Notator. This paper describes how the process of drafting the score and then teaching from the score provided new insights into her work and her identity as a dance artist. The paper concludes with the demands …

Anna Larpent And Shakespeare, Fiona Ritchie

ABO: Interactive Journal for Women in the Arts, 1640-1830

Anna Larpent (1758-1832) is a crucial figure in theater history and the reception of Shakespeare since drama was a central part of her life. Larpent was a meticulous diarist: the Huntington Library holds seventeen volumes of her journal covering the period 1773-1830. These diaries shed significant light on the part Shakespeare played in her life and contain her detailed opinions of his works as she experienced them both on the page and on the stage in late eighteenth- and early nineteenth-century London. Larpent experienced Shakespeare’s works in a variety of forms: she sees Shakespeare’s plays performed, both professionally and by …