CFP Ira Aldridge at 210 and 150

The Shakespeare Conference: SHK 27.351  Thursday, 20 October 2016


From:        Sujata Iyengar <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         October 20, 2016 at 9:36:53 AM EDT

Subject:    CFP Ira Aldridge at 210 and 150


Ira Aldridge at 210 and 150: Race in European Theatrical Cultures (ESRA 2017; Due: Jan 31 2017)

Seminar accepted for “Shakespeare and European Theatrical Cultures: An Atomizing Text and Stage,” European Shakespeare Research Association Biennial Convention, July 27-30, 2017

University of Gdansk and the Gdansk Shakespeare Theatre, Poland

Co-organizers: Krystyna Kujawinska-Courtney, University of Łódź (Poland); Christy Desmet and Sujata Iyengar, University of Georgia (USA)

In 2017 we commemorate a double anniversary of Ira Aldridge, the well-known nineteenth-century African American Shakespearean actor. Born in 1807, he found it impossible to work professionally in the United States, the land of his birth, because of racial and color prejudice. He took refuge in Europe, eventually dying in Łódź, where he is buried, in 1867. Aldridge crossed not only geographical but also methodological boundaries in his work, deploying what we might now call color-blind or rather color-conscious casting. An early role was Rollo, the hero of Richard Brinsley Sheridan’s Pizzaro, who was of Peruvian descent. In addition to Othello and Aaron, the Shakespearean roles for which he was most famous, Aldridge sometimes played caricatured figures, such as Mungo the black servant in Isaac Bickerstaffe’s comedy The Padlock. But he also played white characters, wearing white-face make-up to play R.C. Maturin’s Bertram, the title roles in Richard III and Macbeth, and Shylock in The Merchant of Venice, and adding a long white prosthetic hair-piece to play Lear (for which, as Théophile Gautier noted, he carefully and symbolically refused to whiten his hands).

This seminar welcomes papers investigating Aldridge’s life and work but also explorations of the major research questions surrounding race and European theatre that Aldridge’s career foregrounds, such as:

What are the functions of and future of white- and blackface makeup on European stages?

How does the concept of race change with transatlantic or transnational movement?

How are both color-blind and color-conscious casting choices complicated by a change of place?

How do celebrity and star-power inflect an actor’s or character’s perceived race, ethnicity, or national affiliation in different locales and contexts?

Send 200-word abstracts and a 3-5 sentence author biography to all the organizers: Krystyna Kujawinska-Courtney (krystyna.kujawinska52[at]; Christy Desmet (cdesmet [at ] and Sujata Iyengar (iyengar [at] by 31 January, 2017. Completed papers will be due no later than 31 May, 2017. Accepted seminar members must join ESRA, the European Shakespeare Research Association, in order to participate in the seminar.




Podcast: Melissa E. Sanchez

The Shakespeare Conference: SHK 27.345  Tuesday, 18 October 2016


From:        Neema Parvini <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         October 18, 2016 at 7:26:08 AM EDT

Subject:    Podcast: Melissa E. Sanchez


Neema interviews Melissa E. Sanchez (University of Pennsylvania) about her forthcoming book Shakespeare and Queer Theory for the Arden Shakespeare and Theory series. Discussion includes queerness in Shakespeare, whether or not it is important to ask if Shakespeare himself was gay, Shakespeare’s view of sexuality, and misogyny in the current US presidential election. 




CFP: Constitutions of Hamlet

The Shakespeare Conference: SHK 27.344  Tuesday, 18 October 2016


From:        Simon Ryle <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         October 18, 2016 at 10:53:06 AM EDT

Subject:    CFP: Constitutions of Hamlet


CFP: Constitutions of Hamlet: Afterlives and Political Theologies of Trauerspiel

University of Split, Croatia

16th December 2016 (abstract deadline: 20th November 2016)

Keynote speakers: Prof. Andreas Höfele and filmmaker Ken McMullen


Tragedy and mourning plays stage, for Walter Benjamin, the point of failure around which absolutism constitutes itself. And the trauerspiel, or sorrow play, is never more acutely realized than in Hamlet’s melancholic Prince who, as Benjamin describes, “holds history like a sceptre in his hand,” but who is “incapable of declaring the emergency his very function is to prevent.” Yet this site of failure is also an intimation of futurity. As Carl Schmitt notes, modern European culture has never produced a constitutional myth with as great a reach as Hamlet. For Schmitt, the play signals an emergent modernity in its presentation of the Jacobean monarchy as historical intrusion into the drama, whose kingship has been emptied out - or “desacrilized” as Franco Moretti will later state - but whose absolutism agonistically obscures this fact from itself. This tension is met in Jacques Derrida’s notion of the play’s spectre as the ghostly presentation of that presence which “seems to remain as ineffective, virtual, insubstantial as a simulacrum.” Constituting for Derrida a “hauntology” of political theology, Hamlet speaks of a crisis in political representation by undoing the difference “between the thing itself and its simulacrum.”


Derrida’s hauntology pinpoints one reason why, following the crisis of language, or Sprackrise, that seizes major thinkers and works of high modernism, Hamlet recurs as constitutive text across vital moments of the European twentieth century. The play reopened the Deutsche Theatre in the Soviet occupied zone of Berlin following the collapse of the Nazi regime with Gustav von Wagenheim’s production, and forty-four years later the same theatre reopened for business following the collapse of communism with Heiner Müller’s Hamletmachine. The melancholic Dane took a recurrent role in aiding revolutionary fervour to evade the censorship of communist regimes. In Romania, Alexandru Tocilesau’s 1985 Bucharest Hamlet strongly inferred parallels between Claudius and Ceaucescu. In Bulgaria two pre-independence productions used Hamlet as a mode of cultural reconstruction, and in Poland the Dane had played repeatedly since Wyspiański’s 1905 interpretation as a tool of political subversion; Wajda’s 1990 post-independence production was a key moment in national reconstitution.


Hamlet’s afterlives also show us how in modernity political theologies are transmitted as mass technological event. Benjamin’s analysis of melancholy and mass media technology, and Friedrich Kittler’s media archaeology are here invaluable. For it is the case that the age of analysis, the teletechnological episteme initiated in the newly established discourse networks of the 1880s and 90s (enabled by the technological development and mass uptake of the phonograph, cinema and typewriter), constitutes an unprecedented constitutional moment for Hamlet. Taking a central place in Freud’s theory of the unconscious, and critiqued in academic discourse vastly more than any other narrative, Hamlet is a quintessential object of analytic desire. Likewise, filmed more than any other story, the play wielded a constitutive influence upon the early cinema. Jointly in the institutional verification of analysis and the technological implementation of cinema, Hamlet haunts modernity.


This one-day symposium will explore how Shakespeare reworks early modern political theologies, and why modernity finds itself speaking of politics and subjectivites so frequently with and through Hamlet. In the context of Britain’s melancholic contemporary quest for political isolation, a quest arguably bound to an updated form of the very failure of political absolutism that Benjamin identifies as the heart of trauerspiel, it is perhaps more timely than ever to consider the political theologies constituted by Shakespeare's sorrowful Danish play.


The conveners welcome paper proposals that explore the subjective, philosophical, epistemological constitutions and political theologies of early modern tragedy, melancholy and trauerspiel, and the various ghosts, hauntologies and afterlives that reconstitute Shakespeare across modernity.


Please send abstracts of about 200 words to This email address is being protected from spambots. You need JavaScript enabled to view it. by 20th November 2016.




CFP: Offensive Shakespeare Conference, Northumbria University

The Shakespeare Conference: SHK 27.340  Monday, 17 October 2016


From:        Edmund King <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         October 17, 2016 at 11:56:13 AM EDT

Subject:    CFP: Offensive Shakespeare Conference, Northumbria University


CFP: Offensive Shakespeare Conference, Northumbria University, UK, 24 May 2017


Dear all,


We invite abstracts for the forthcoming “Offensive Shakespeare” conference, to take place at Northumbria University, Newcastle Upon Tyne, on 24 May 2017. This conference is sponsored by the British Shakespeare Association.


Offensive Shakespeare


Keynote speakers:  Prof. Douglas Lanier (University of New Hampshire)

                                  Dr. Peter Kirwan (Nottingham University)

‘Outrage as BBC bosses “use Shakespeare to push pro-immigration agenda”’.
This was a headline in The Daily Express on 25th April 2016, after the BBC included what has become known as the ‘Immigration Speech’ from Sir Thomas More in a programme celebrating the 400th anniversary of Shakespeare’s death. From Thomas and Henrietta Bowdler expurgating passages from their Family Shakespeare, through campaigns in the early 20th century to remove The Merchant of Venice from American classrooms, to this recent ‘outrage’, people have been offended by what Shakespeare wrote or by the uses to which others have put him. But what is it that offends us and how do we deal with it? What makes Shakespeare and his appropriations such a sensitive issue? We welcome 200-word abstracts for 20-minute papers that might address the following (or related) topics:


  • Case studies of individuals or groups taking offence at Shakespeare’s texts.
  • Examples of Shakespearean rewritings aimed at addressing ‘offensive’ issues. 
  • Shakespearean plays or performances which have been banned, censored, or campaigned against. 
  • Debates around removing Shakespeare from educational curricula, or making the study of his work mandatory. 
  • Appropriations of Shakespeare by anti-democratic or repressive movements (e.g. ‘Nazi Shakespeare’, ‘racist Shakespeare’). 
  • Iconoclastic uses of Shakespeare that ‘offend’ against established orthodoxies. 
  • Adaptations of Shakespeare into popular genres or idioms. 
  • Means of teaching or tackling plays which include morally, ethically, or politically problematic passages (e.g. The Taming of the Shrew, Othello, The Merchant of Venice).
  • Uses of Shakespeare in propaganda, inflammatory speeches, or heated political debates.
  • Authorship controversies.

    Read more: CFP: Offensive Shakespeare Conference, Northumbria University


The Shakespeare Conference: SHK 27.339  Monday, 17 October 2016


From:        Hardy M. Cook <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         Monday, October 17, 2016

Subject:    Hiatus 


Dear Subscribers,


I will leave for Devon in the afternoon of October 21 and will return late on the 26th. Please continue to submit postings and announcements.





Shakespeare Colloquium This Saturday

The Shakespeare Conference: SHK 27.337  Wednesday, 12 October 2016


From:        John Mahon <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         October 11, 2016 at 12:37:53 PM EDT

Subject:    Shakespeare Colloquium This Saturday


24th Annual Shakespeare Colloquium, “Shakespeare’s ‘Other’ Worlds: Politics, Sound, Misogyny and Pop Culture”



Saturday, October 15, 2016, 9:30am – 3:30pm



FDU Community



Florham Campus



Science Building



Sturchio Hall (room S-11)



Alumni, Current Students, Faculty, Parents, Prospective Students, Staff, Visitors/General Public



Maxwell Becton College of Arts and Sciences With support of Columbia University Seminar on Shakespeare and Columbia Seminars Office






This email address is being protected from spambots. You need JavaScript enabled to view it.



John Mahon, emeritus, English, Iona College New Rochelle, NY, and senior editor “The Shakespeare Newsletter,” Laury Magnus, English, US Merchant Marine Academy, King’s Point, NY, and editor, “The New Variorum Hamlet” and; Margaret Mikesell, emerita, English, John Jay College of Criminal Justice, City University of NY; Louise Geddes, English, Adelphi University, and digital appropriations editor, Borrowers and Lenders: The Journal of Shakespeare and Appropriation;” and moderator Harry Keyishian, emeritus, English





The Shakespeare Conference: SHK 27.336  Wednesday, 12 October 2016


From:        Richard A. Strier <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         October 11, 2016 at 3:53:33 PM EDT

Subject:    NEH Seminar: KING LEAR


Richard Strier will be offering an NEH Seminar for college teachers on King Lear at the University of Chicago this coming July.  All college instructors (but not graduate students) are welcome to apply.  For a full description, stipend information, and application instructions, please go to:


Richard Strier

Sulzberger Distinguished Service Professor Emeritus

Department of English

University of Chicago




Neema Parvini on Thurs Oct 6 + KiSS Autumn Schedule

The Shakespeare Conference: SHK 27.330  Monday, 3 October 2016


From:        Timo Uotinen <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         October 2, 2016 at 2:41:41 PM EDT

Subject:    Neema Parvini on Thurs Oct 6 + KiSS Autumn Schedule


Dear SHAKSPERians,


Here is an update on Kingston Shakespeare events:


KiSS: Shakespeare and New Historicist Theory with Neema Parvini, Oct 6


Our first session on Thursday October 6 features Dr Neema Parvini discussing his book Shakespeare and New Historicist Theory, published by Bloomsbury in Arden Shakespeare’s Shakespeare and Theory series, coming out in January 2017. In our new format, the session will be an informal roundtable discussion with the author, chaired by Richard Wilson. We will convene at 6.30 pm at the Gallery of the Rose Theatre, Kingston. These sessions are free and open to everyone. See also the event page!

About Shakespeare and New Historicist Theory (from the publisher’s website):


Over the past three decades, no critical movement has been more prominent in Shakespeare Studies than new historicism. And yet, it remains notoriously difficult to pin down, define and explain, let alone analyze. Shakespeare and New Historicist Theory provides a comprehensive scholarly analysis of new historicism as a development in Shakespeare studies while asking fundamental questions about its status as literary theory and its continued usefulness as a method of approaching Shakespeare’s plays.


Dr Neema Parvini is a Lecturer in English Literature at the University of Surrey. He is the author of three books alongside the aforementionedShakespeare and New Historicist TheoryShakespeare’s History Plays: Rethinking Historicism (Edinburgh University Press, 2012), Shakespeare and Contemporary Theory: New Historicism and Cultural Materialism (Bloomsbury, 2012), and Shakespeare and Cognition: Thinking Fast and Slow Through Character(Palgrave, 2015). Moreover, check out his fantastic podcast series on Shakespeare and Contemporary Theory. For more information see his staff page.



Kingston Shakespeare Autumn programme

Kingston Shakespeare has a new roundtable format featuring three different types of session: firstly, authors discussing their recent books; secondly, playreadings focusing on ‘Shakespeare, volume one’, three apocryphal texts; and thirdly, work-in-progress seminars with scholars discussing their recent work in and around all things Shakespeare.


Here is the programme for this Fall (with amendations forthcoming as soon as possible):

  • Oct. 6: Booktalk: Shakespeare and New Historicist Theory with Neema Parvini (Surrey)
  • Oct. 13: Playreading Shakespeare, volume one: Fair Em
  • Oct. 20: Work-in-Progress with Harry Newman (Royal Holloway)
  • Oct. 27: Booktalk: TBC
  • Nov. 3: Playreading Shakespeare, volume one: Mucedorus
  • Nov. 17: Work-in-Progress with Ildiko Solti
  • Nov. 24: Booktalk: TBC
  • Dec. 1: Playreading Shakespeare, volume one: The Merry Devil of Edmonton
  • Dec. 8: Work-in-Progress: TBC

All sessions are free and open to the public. They take place at our usual spot (the Gallery) in the Rose Theatre, Kingston. The sessions start at 6.30 pm unless otherwise specified.

See our homepage for more and up-to-date information. See you there!


Kingston Shakespeare Seminar


This email address is being protected from spambots. You need JavaScript enabled to view it.




If you want on or off our email list, send us an email and we will act accordingly.


Timo Uotinen

PhD Candidate in English Literature

Royal Holloway, University of London

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Speaking of Shakespeare with NYU's Louis Scheeder

The Shakespeare Conference: SHK 27.329  Monday, 3 October 2016


From:        John F. Andrews <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         October 2, 2016 at 12:44:32 PM EDT

Subject:    Speaking of Shakespeare with NYU's Louis Scheeder 


Speaking of Shakespeare 

With Louis Scheeder of NYU's 

Tisch School of the Arts 


Wednesday, October 5, at 8 p.m.

The National Arts Club

15 Gramercy Park South, Manhattan

Admission Free, and Open to the Public


We hope you’ll join us for a wide-ranging conversation with one of America’s most influential directors and drama instructors. Louis Scheeder teaches at NYU’s prestigious Tisch School of the Arts. He founded and now oversees its Classical Studio, an advanced training program, and he also serves as Associate Dean of Faculty. During the 1970s Mr. Scheeder won plaudits as Producer of the Folger Theatre Group, a vibrant company that performed both Renaissance classics and cutting-edge contemporary works on an Elizabethan stage that became of of the most dynamic venues in the Nation’s Capital. In subsequent years he has worked with the Royal Shakespeare Company in Stratford-upon-Avon and with The Factory in London, and he conducts workshops in settings such as California’s Huntington Library. He has delighted audiences with three Off Broadway shows, among them Amlin Gray’s How I Got That Story. He has contributed to a widely-admired volume about Training the American Actor. And in collaboration with our December guest, Shane Ann Younts, he has compiled All the Words on Stage: A Complete Pronunciation Dictionary for the Plays of William Shakespeare.   


Visit for more details about this and a variety of other Guild offerings, among them our 2016 Gielgud Award presentation, to occur on Sunday, October 9, at London’s historic Guildhall, with Vanessa Redgrave as this year’s honoree. 





Music from Shakespeare’s Time with Collectio Musicorum

The Shakespeare Conference: SHK 27.325  Friday, 30 September 2016


From:        Gene Murrow - GEMS <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         September 29, 2016 at 12:57:27 PM EDT

Subject:    Music from Shakespeare’s Time with Collectio Musicorum


Jeff Dailey has had a distinguished career as a musicologist and performer, with a keen interest in music of the Middle Ages and the Renaissance.  This concert of music from Shakespeare’s time by his group Collectio Musicorum includes works that were featured in Shakespeare’s plays as well as music by Shakespeare’s friend, Thomas Morley, among others.


Gotham Early Music Scene, Inc. (GEMS), the service and advocacy organization for early music in New York City, is forwarding the following information to Shaksper on behalf of Collectio Musicorum.  We thank you for your attention!   


Gene Murrow, Executive Director



Thursday, September 29, 2016


CONTACT:                                                                                                  -OR-


Dr. Jeff S.Dailey                                                         

Gene Murrow or Naomi Morse

Collectio Musicorum                                                   

Gotham Early Music Scene, Inc.        


(212) 866 – 0468

This email address is being protected from spambots. You need JavaScript enabled to view it.                                                   

This email address is being protected from spambots. You need JavaScript enabled to view it. 



Collectio Musicorum




Date: Friday, October 21, 2016

Time: 8 pm


Location:        Christ and St. Stephen’s Church

120 West 69th Street  

New York, NY 10023


Cross Street:  Between Broadway and Columbus Avenue


Subway/Bus: #1 train to 66th Street station 

#2/3 trains to 72nd Street station

B/C trains to 72nd Street station

M5, M7, M104, M11, M20, M10, M66, or M72 buses 


Tickets:           Admission is free

Details online at 




Elizabeth Bates, soprano; Patrick Fennig; countertenor, Christopher Thompson, tenor; Jeff Dailey, recorder; Christopher Morrongiello, lute; and Patricia Neely, viol




Collection Musicorum, a New York-based early music ensemble, presents a concert of music from 16th and 17th century England, commemorating the 400th anniversary of the death of William Shakespeare.  The program will feature music from Shakespeare’s plays, as well as works from the plays of Shakespeare’s contemporaries Ben Jonson and Christopher Marlowe.  In addition, the program will include Elizabethan ballads and chamber music by Shakespeare’s friend Thomas Morley and will feature rarely heard music by Nicholas Lanier, who became Master of the King’s Music after Shakespeare’s death.


About the ensemble:


Collectio Musicorum (“Collection of Music”) is an ensemble devoted to giving the best possible performances of music from the earliest of times.  While realizing it is not possible to replicate medieval performances with complete accuracy, the ensemble strives to achieve a reasonable reproduction of the sounds and performance practice of the Middle Ages by examining all available evidence—codicological, organological, linguistic, iconographic, etc.   This musicological approach is combined with the highest possible level of musicianship to present historically informed concerts that are both scholarly and entertaining.  Collectio also strives to resurrect music that, although written about, is rarely, if ever, performed.   


Music Director Jeff Dailey studied musicology and theatre history at NYU, where he received his PhD in 2002.  He is an active instrumentalist, musicologist, conductor, and stage director.  His publications include studies of medieval and Renaissance music and theatre, Eugene O’Neill, Beowulf, Donizetti, and Gilbert and Sullivan.  He has been president of the Greater New York Chapter of the American Musicological Society since 2008.


For further information or to set up an interview:


Call 718-745-4794 or Email: This email address is being protected from spambots. You need JavaScript enabled to view it.  







Media services provided by: Gotham Early Music Scene, Inc. 340 Riverside Drive # 1-A, New York, NY  10025




Podcast on Shakespeare and Posthumanist Theory

The Shakespeare Conference: SHK 27.324  Friday, 30 September 2016


From:        Neema Parvini <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         September 30, 2016 at 6:29:37 AM EDT

Subject:    Podcast on Shakespeare and Posthumanist Theory


Neema interviews Karen Raber (University of Mississippi) about her forthcoming book Shakespeare and Posthumanist Theory, part of the Arden Shakespeare and Theory series. Topics include: the difference between "The Posthuman" and posthumanism, and animals in Shakespeare. 



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