A series of sensory drama games based on the essence of Shakespeare, created by Kelly Hunter MBE, for people with autism.
How we use Shakespeare with people with autism:
The games are short, fun and easily repeatable, they require only the human voice and body and another person to play with.
Listen here to play the games…
People with autism struggle with making themselves understood, their struggle is communicative and sensory – an almost superhuman effort may be required to connect eyes and mind in order to express reason and love. The Hunter Heartbeat games are derived from Shakespeare’s poetic exploration of how it feels to be alive, specifically through his obsession with the eyes and the mind and with reason and love; how we see, think and feel, which forms the spine of his poetry throughout the whole canon. “Love looks not with the eyes but with the mind” (Helena, AMSND) has three of these keywords in just one line and Hamlet’s coining of the phrase “The Mind’s Eye” can be seen as an apotheosis of this poetic exploration.
Through focusing on moments in Shakespeare where characters emerge through seeing, thinking and feeling, my games offer people on the spectrum an opportunity to express themselves; exploring eye contact, language skills, spacial awareness, facial expressions and imaginative play. We play the games in a safe loving space where everyone involved can begin to share common human experience. These sensory games form the basis for Flute Theatre’s productions for people with autism and their families.
Every game has always been created through playing with people on the spectrum:
How it began
In 2001 I had been an actor at the RSC for some time. I was playing big roles in Stratford upon Avon and London. I was increasingly at odds with the status quo. I knew that Shakespeare’s plays have four keys words running through them – eyes, mind reason and love – creating a poetry of the seeing brain and the loving eye. I knew there is a mystery in his iambic rhythms that sent me almost crazy. I found that these things were barely of interest to anyone I was working with at the time in Stratford. I was not the person I wanted to be.
So I took myself off to the Glebe school, a special school in Beckenham and offered my services to teach Shakespeare to people with no access to the arts. I gave myself the task of creating ways to use Shakespeare so that it lived, wholly and completely in the moment , for the people engaged in it. The school welcomed me with open arms. “You can play with anyone here, except those children” they said,pointing to a closed door , “”because they have autism and they won’t be able to play”.
I did play with those children. For an hour once a week, every week for three years and little by little they taught me how to teach them. I never missed one session. They struggled with making eye contact and they struggled with articulating their thoughts and feelings. I focused on alleviating these struggles through directly using moments in the plays that spoke to me as genius; where-in Shakespeare invented his loving eye and his seeing brain. The rhythms of the iambic became a soothing means of transition at the beginning and end of every session where the “extended panic attack” – so deeply felt within someone with autism – seemingly became calmed.
These games have become the Hunter Heartbeat Method. And everyone can play them.
“For me – working in a special school – there is so much material here that is of huge benefit to children who struggle with social interaction. This should be on the shelf of every SEN teacher as there are activities here that would work on many levels for children both verbal and non-verbal, ASD or not.”
Lucy Ellen Rix, Teaching Drama
Director and Advocate
Uta Frith DBE
Parent of son with autism