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<p class="MsoNormal"><span style="font-size:11.0pt;font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;;color:#1F497D">As an aside, I&#8217;ve found that &#8220;casting&#8221; not only plays but also poems can be a very useful tool for starting conversations in the classroom. It&#8217;s especially
 helpful in getting students who otherwise feel intimated by the text to join in, and to recognize that they actually understand more of the text than they think they do (or can easily articulate). That&#8217;s especially true if you can suggest recognizable alternatives
 for students to choose among.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt;font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;;color:#1F497D"><o:p>&nbsp;</o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt;font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;;color:#1F497D">To be sure, you can&#8217;t do this for 30 minutes&#8212;maybe five&#8212;but the exercise lends itself quite well to getting directly to the text. You say Keanu Reeves shouldn&#8217;t
 &#8220;play&#8221; Red Crosse Knight&#8212;ok, why? What exactly do you see in the text that signals something about the character? What sort of interpretative choices are you making when you assign roles?<o:p></o:p></span></p>
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<p class="MsoNormal"><span style="font-size:11.0pt;font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;;color:#1F497D">Todd Butler<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt;font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;;color:#1F497D">Associate Professor and Chair<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt;font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;;color:#1F497D">Department of English<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt;font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;;color:#1F497D">Washington State University<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt;font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;;color:#1F497D">(509) 335-2639 office<o:p></o:p></span></p>
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<p class="MsoNormal"><span style="font-size:11.0pt;font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;;color:#1F497D"><o:p>&nbsp;</o:p></span></p>
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<p class="MsoNormal"><b><span style="font-size:10.0pt;font-family:&quot;Tahoma&quot;,&quot;sans-serif&quot;">From:</span></b><span style="font-size:10.0pt;font-family:&quot;Tahoma&quot;,&quot;sans-serif&quot;"> milton-l-bounces@lists.richmond.edu [mailto:milton-l-bounces@lists.richmond.edu]
<b>On Behalf Of </b>Kemmer Anderson<br>
<b>Sent:</b> Thursday, October 17, 2013 7:11 AM<br>
<b>To:</b> John Milton Discussion List<br>
<b>Subject:</b> Re: [Milton-L] Samson Agonistes performed Oct 14th in NYC<o:p></o:p></span></p>
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<p class="MsoNormal"><o:p>&nbsp;</o:p></p>
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<p class="MsoNormal">Carter I like the James Earl Jones cast because the subtext of the American slave narratives seemed to have a slave named Samson. Peter Jefferson had a slave named Samson working on building a mill at Shadwell. The image would play well
 but the operatic voices and setting would reshape Milton's words. I was wondering coming down the mountain today if Handel's Samson was enacted in America at NY or Williamsburg....Kemmer Anderson<o:p></o:p></p>
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