Attempting to teach theater in an English Literature course is a daunting prospect. A far cry from the highly individual experience of reading a novel or poem, theater is both a visual and communal kind of engagement. It is a challenge to capture this medium in a traditional lecture-based classroom and harder still to convey its three-dimensionality to undergraduate students. In this paper, we argue that experiential learning and team teaching are especially resonant in the exploration of Shakespearean studies because of the active and collaborative nature of his theater and plays. This paper draws out avenues for experiential learning in the humanities that should have broad applicability and interest a wide range of readers. Framing our design, implementation, and critical reflection in the relevant research, we provide an example of how to anchor experiential learning in the humanities in practice. The case study outlines a compact spring session course on Shakespeare’s plays and performance that includes in-class, online, and field study components. Our research reveals that this approach mirrors in several key ways the collaborative work at the heart of Shakespearean drama and of theater more generally: students are exposed to the plays on the page, on the stage, and behind the scenes; they are offered a model of collaborative knowledge-making both in the theater and in the team-based course design and delivery; and, with these examples before them, they are encouraged to take risks, to collaborate, and to form communities of their own in their learning. In the conclusion we devote attention to funding and the cost associated with experiential learning and field courses. This paper explores experiential learning and field-based immersive learning into the context of disciplinary-specific humanities classrooms with the goal of increasing interaction among students and enhancing students’ learning (Béchard and Pelletier, 2001).

尝试在英语文学课程中教授戏剧是一个令人生畏的前景。戏剧与阅读小说或诗歌的高度个人经验相去甚远，戏剧既是视觉上的又是公共的一种参与。在传统的基于演讲的课堂中捕获这种媒体，并且更难以将其三维传达给本科生，这是一个挑战。在本文中，我们认为，由于莎士比亚戏剧和戏剧的积极和协作性，在莎士比亚研究中，体验式学习和团队教学尤其引起共鸣。本文为人文科学中的体验式学习提供了途径，这些途径应具有广泛的适用性并引起广大读者的兴趣。在相关研究中构筑我们的设计，实施和批判性思考 我们提供了一个示例，说明如何在实践中将体验式学习融入人文学科。案例研究概述了有关莎士比亚戏剧和表演的紧凑春季课程，其中包括课堂，在线和现场学习内容。我们的研究表明，这种方法以几种关键方式反映了莎士比亚戏剧和剧院的核心协作工作：学生们在页面，舞台和幕后的戏剧中都可以接触到；在剧院以及基于团队的课程设计和交付中，为他们提供了协作式知识创造的模型；并在他们面前举有这些例子，鼓励他们冒险，合作并在学习中形成自己的社区。最后，我们将注意力集中在与体验式学习和实地课程相关的资金和成本上。本文探讨了经验学习和基于现场的沉浸式学习，以针对特定学科的人文课堂为背景，目的是增加学生之间的互动并增强学生的学习（Béchard和Pelletier，2001）。