Gail Kern Paster April 20 at 3:30

The Shakespeare Conference: SHK 26.195  Monday, 20 April 2015


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

Date:         April 16, 2015 at 3:55:30 PM EDT

Subject:    Gail Kern Paster April 20 at 3:30


On Monday, April 20 at 3:30, Gail Kern Paster will be giving a talk titled “Bodies without Borders: King Lear, Lady Macbeth, and the Ecology of Their Passions.” The talk with be held in Tawes 2115 and is part of the Marshall Grossman Lecture Series. This paper has overlapping interest with affect theory, the subject/object divide, and poetic form.


Gail Kern Paster is the editor of Shakespeare Quarterly, the former director of the Folger Shakespeare Library, and Professor Emeritus of English at The George Washington University. She is the author of numerous scholarly articles and three books— Humoring the Body: Emotions and the Shakespearean Stage (2004), The Idea of the City in the Age of Shakespeare (1986), and The Body Embarrassed: Drama and the Disciplines of Shame in Early Modern England (1993), as well as the co-editor of the Bedford Books’ Midsummer Night’s Dream: Texts and Contexts (1998), editor of Thomas Middleton’s 1607 comedy, Michaelmas Term (2000), and co-editor (with Mary Floyd-Wilson and Katherine A. Rowe) of Reading the Early Modern Passions: Essays in the Cultural History of Emotion (2004).


Best Wishes, 

Jeffrey B. Griswold

PhD Student 

Department of English

University of Maryland


Call for Papers: ESTS

The Shakespeare Conference: SHK 26.194  Monday, 20 April 2015


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

Date:         April 20, 2015 at 5:43:29 AM EDT

Subject:    Call for Papers: ESTS


The Bibliographical Society has kindly agreed to fund four “Bibliographical Society Studentships” for the conference “Users of Scholarly Editions: Editorial Anticipations of Reading, Studying and Consulting”, the 12th annual meeting of the European Society for Textual Scholarship (ESTS), to be held in Leicester, England, on 19-21 November 2015.


The Call for Papers for the conference is copied below.  The best four proposals for papers by post-graduate applicants will each receive a 60 GBP bursary to defray their costs in attending the conference to give their papers. Applicants should mention in their proposals that they are post-graduate students.




Gabriel Egan

Conference organizer


"Users of Scholarly Editions: Editorial Anticipations of Reading, Studying and Consulting"


The 12th Annual Conference of the European Society for

Textual Scholarship (ESTS) will be held at the Centre

for Textual Studies, De Montfort University, Leicester

England 19-21 November 2015


The ESTS returns to Leicester where it was founded in 2001 to stage a major collective investigation into the state and future of scholarly editing. Our focus is the needs of users of scholarly editions and proposals for 20 minute papers are invited on topics such as:


* Are users' needs changing?

* How does edition design shape use?

* Stability in print and digital

* Where are we in the study of mise en page?

* Facsimiles and scholarly editions

* Collaborative and social editing

* Editorial specialization in the digital age

* APIs and mashups versus anticipation

* The logic of annotation

* Is zero the best price point for editions?

* Readers versus users

* Can we assume a general reader'?

* Indexing and annotation versus search

* Editors, publishers and Open Access

* Is technology changing editing?

* Digital editions or digital archives?

* Are editions ever obsolete?

* Scholarly editions versus popular editions

* Any other topic related to the use or users of scholarly editions


Plenary Speaker (subject to confirmation) include:


Hans Walter Gabler (Munich University)

David Greetham (City University of New York)

Tim William Machan (Notre Dame University)

Gary Taylor (Florida State University)

Elaine Treharne (Stanford University)

Andrew Prescott (Glasgow University)


Hands-on workshops will be given on setting movable type, letterpress printing, and getting started with XML.


Proposals (max 300 words) for 20-minute papers should be emailed to Prof Gabriel Egan <This email address is being protected from spambots. You need JavaScript enabled to view it.> by 15 May 2015


See for information and registration


CFP: Postgraduate Shakespeare Conference on “Waste”

The Shakespeare Conference: SHK 26.193  Monday, 20 April 2015


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

Date:         April 18, 2015 at 1:26:31 PM EDT

Subject:    CFP: Postgraduate Shakespeare Conference on “Waste”




Would you be so kind as to send this Call For Papers for a postgraduate Shakespeare conference on the topic of “waste” (that I am helping to organize) at the Rose Theatre in Kingston on Saturday, 23 May?


We are also beginning a new Shakespeare seminar for postgraduates, in coordination with the London Graduate School entitled “Kingston Shakespeare Seminar in Theory” (also advertised on that page). 



Kingston Shakespeare Seminar (KiSS)


Kingston Shakespeare Seminar in Theory



Kingston Shakespeare Seminar (KiSS), part of the London Graduate School, announces the launch of Kingston Shakespeare Seminar in Theory (KiSSiT): a series of seminars and conferences for postgraduate students and early career scholars with an interest in Shakespeare, philosophy and theory. The program will be committed to thinking through Shakespeare about urgent contemporary issues in dialogue with the work of past and present philosophers – from Aristotle to Žižek.


It is intended that one-day KiSSiT conferences will be held three times a year at the Rose Theatre, Kingston-upon-Thames, which was developed by the great director Sir Peter Hall to be a ‘teaching theatre’, where actors and academics would work together. KiSSiT events will be free and open to all.


The inaugural KiSSIT conference will take place at the Rose Theatre on Saturday 23 May, 2015, on the theme of SHAKESPEARE AND WASTE (see CFP below). Auditors are also encouraged to attend. Confirmed speakers include Scott Wilson (Kingston University) and Peter Smith (Nottingham Trent University).


Although there is no attendance fee, seating is limited, and registration is necessary: see email contact below.


Reduced-price tickets will be available to all participants for the evening performance at the Rose Theatre of Jonathan Miller’s acclaimed production of King Lear, starring Barrie Rutter




The Oxford English Dictionary lists three main senses for ‘waste’ in the English language:

  1. Waste or desert land
  2. Action or process of wasting
  3. Waste matter, refuse

The conference invites abstracts for 20 minute papers which fit under these broad headings


Papers might consider, but are not limited to, the following areas and questions:

  • The early modern association between waste and idleness
  • The link between waste (land) and wilderness
  • Waste paper
  • Economic concerns relating to Shakespeare
  • Do waste products of the body suggest a leveling and/or intensification of social hierarchy?
  • The relationship between human waste and abjection
  • The concept of human waste associated with digestion, purging, emetics, and / or blood-letting
  • The concept and processes of ‘catharsis’ in relation to waste
  • Waste in King Lear
  • What does the imagery of contamination by human waste (muddy fountains / cisterns, stains, filth) suggest about the relationship between racial and ethnic groups?
  • Human waste as the traditional Protestant symbol of money; conversely, money as the denial of feces and its evocation of the human body as pure physicality

Organizers: Johann Gregory, Paul Hamilton, Anne Sophie Refskou, Timo Uotinen, Richard Wilson.


Please submit abstracts and brief CVs, or register as an auditor, by emailing the organizers at This email address is being protected from spambots. You need JavaScript enabled to view it. before 1 May, 2015 (auditors may register before 15 May)


Please indicate whether you would like to book a ticket for King Lear in your mail.


Best Wishes, 

Paul Hamilton

Shakespeare Institute 



Wooden O Symposium

The Shakespeare Conference: SHK 26.189  Thursday, 16 April 2015


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

Date:         April 16, 2015 at 11:22:28 AM EDT

Subject:    Wooden O Symposium




The Wooden O Symposium invites panel and paper proposals on any topic related to the text and performance of Shakespeare’s plays. The conference also seeks papers/panels that investigate how his works reflect or intersect with early modern life and culture.

The deadline for proposals is May 1, 2015. Session chairs and individual presenters will be informed of acceptance no later than May 15. Please include 250-word abstracts or session proposals (including individual abstracts) and the following information:


•  Name of presenter(s)

•  Participant category (faculty, graduate student, undergraduate, or independent scholar)

•  College/university affiliation

•  Mailing address

•  Email address

•  Audio/visual requirements and any other special requests.


This year’s symposium encourages papers and panels that speak to the Utah Shakespeare Festival’s 2015 summer season: The Taming of the Shrew, Henry IV Part Two, and King Lear. Abstracts for consideration for the Wooden O sessions and individual presentations should be sent to This email address is being protected from spambots. You need JavaScript enabled to view it..


Submit the abstract or proposal
 via post or e-mail to:

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


Wooden O Symposium 

c/o Utah Shakespeare Festival 

351 W. Center St. 

Cedar City, UT 84720 


Telephone: 435-865-8333

Fax: 435-865-8003


The Wooden O Symposium will be held August 3-5, at Southern Utah University in Cedar City, Utah. The Wooden O Symposium, sponsored by the Utah Shakespeare Festival and Southern Utah University, is a cross-disciplinary conference focusing on the text and performance of Shakespeare’s plays, and is held in one of the most beautiful natural settings in the western U.S.


For further information, call


Shakespeare Works When Shakespeare Plays

The Shakespeare Conference: SHK 26.188  Thursday, 16 April 2015


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

Date:         April 15, 2015 at 9:22:44 PM EDT

Subject:    Shakespeare Works When Shakespeare Plays


Shakespeare Works When Shakespeare Plays

A Professional Development Conference for Teachers

September 18 - 20, 2015

McDonogh School, Owings Mills, MD


Join education leaders from the US and the UK for a three-day immersion in performance-based approaches to teaching Shakespeare's plays. 


In 2012, Shakespeare’s Globe in London partnered with UC-Davis’s School of Education to create a professional development conference on teaching Shakespeare, which took place at the Mondavi Center on the campus of UC-Davis. The idea was to help K-12 and undergraduate English teachers with ways of teaching Shakespeare’s works through play and performance by gathering some of the English-speaking world’s thought leaders on the most effective ways of teaching Shakespeare. 


Participants will be up on their feet with education directors from award-winning theatres who will help bring Shakespeare’s plays to life for students.  Teachers will come away from the conference with “Monday-Morning-Ready” lessons and activities that are engaging, rigorous, and fun. Particular attention will be paid to how these approaches fully support the outcomes prescribed by the Common Core State Standards. Additionally, this conference will provide thoughtful and practical ideas in support of 21st-Century learning competencies, appealing broadly to both public and independent school teachers as well as to teachers of undergraduate students.


Academic credits available at UC Davis’ University Extension.


Shakespeare Works when Shakespeare Plays will take place on the beautiful campus of McDonogh School, located in Owings Mills, MD, just 20 minutes from Baltimore and from BWI Airport. 


Kevin J. Costa, Ph.D.

Education Director

Chesapeake Shakespeare Company

Folger National Teacher Corps



Louis Marder’s Remaining Collection Placement

The Shakespeare Conference: SHK 26.187  Thursday, 16 April 2015


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

Date:         April 15, 2015 at 4:20:40 PM EDT

Subject:    Louis Marder’s Remaining Collection Placement


I am Lou Marder's granddaughter. 


I can’t believe it it’s been more than 4 years since I rescued boxes and boxes and boxes of paper from heading to the dumpster (it seems some of my grandfather’s proclivities skipped a generation). As you know, the “valuable” collectibles ended up going to auction (with largely depressing results), and the books to an antiquarian bookseller. That still leaves a whole lot of stuff


I think what I’m hoping for is answers/suggestions/ideas...maybe connections/referrals...  please feel free to forward my e-mail to anyone who might be a resource...or if you feel it would be appropriate, post relevant portions to SHAKSPER or other groups... 



Initially I did manage to catalog his journal collection:

(I’ve since found others tucked away in files...started adding these yesterday in purple. I’ve also tossed a couple titles since cataloguing. A few of the titles—MLA, Theatre Notebook, a few others I think—are still being sent, but recent issues are in another box in storage). I think where I got sidetracked 4 years ago was in my hunt for a database that would accept OCR-friendly scans/photos of title pages, as well as a speedy way to acquire those images/pdfs. I think I was also stumped (overwhelmed?) regarding how to advertise/publicize the availability of the collection. Next thing I knew it was 4 years later. 


I know that many of the titles have long since been completely digitized, and others are just not relevant to anyone. There are a few that are extremely rare (only one or two holdings worldwide according to the OCLC; if I recall correctly, one or two titles didn’t show up at all!), and others that aren’t necessarily rare but also don’t appear to have been digitized. I’m ashamed to say that I’m hoping to find buyers for as much as possible, but I’d rather donate (so long as someone pays for shipping) than recycle. 



The above inventory does not include back issues of The Shakespeare Newsletter. I initially offered the whole lot to Iona College ...they didn’t have a place for them, nor the funds for shipping. I do, however, plan to send them the subscription books and a bound volume of 1951-196.... Last week I found all his correspondence files related to SNL submissions....and so on. He was involved in so many things that so much of the correspondence could be cross-referenced under multiple index entries. Ugh. Back to that in a bit.


Last week... I went through the 19 boxes of SNL, setting aside a max of 10 of each issue (then, guilt-ridden, a second set of 10, then maybe five if....? The first time I ran across 50+ copies of a single issue I worried that maybe he’d forgotten to mail out that particular issue! I was relieved (in a sense; guilt-ridden in another) when I started encountering mass quantities of other issues as well. That said, as I glance through correspondence files and run across numerous letters mentioning missing/delayed issues and subscriptions.... Ugh. Anyway, I boxed up the “max of 10” issues (as well as a single set for myself; I’m missing only about six or seven post-1964/pre-Iona issues). Not that I know what to do with those (I’ll come back to this too), but, do you think it’s reasonably safe to dump the remainder into recycling, or do you know of a market for these somewhere? It’s bad enough that his collection and library was split up, and that his SDB dream was never realized, that I feel awkward about tossing too many issues of SNL.


Correspondence/research files

Having been a professional historian at one time, I feel like I’m sitting on a potential gold mine—a gold mine and a noose. I’m not sure if this is common or not, but his correspondence files almost always contain copies of his own outgoing letters in addition to the letters he received. 


Last week it hit me that, while I’d been assured that my aunt hunted high and low for someone to take Lou’s collection, his papers were likely the last thing on her mind, so I contacted UIC. I figured I’d follow up with Kent State, UNC-Pembroke, Columbia, and Brooklyn College, if UIC isn’t interested. In the meantime, however, I’ve continued perusing what’s here. 


One category of files that I’ve come pretty close to disposing is the mass of correspondence in response to his advertisements seeking Shakespeareana and the masses of receipts and business cards for his purchases. I’ve found a few interesting bits of correspondence, as well as provenance information for items long-since sold (e.g., proof that a dagger did indeed belong to Edwin Booth, who made it, how the seller came to have it, etc. It really annoys me every time I run across something like this that “tells a story” about something from his collection). But, just as I’m about to dispose of all but a handful of letters and such, I imagine a possible research topic for which someone, somewhere would consider even this pile of paper to be valuable. <sigh> I am my grandfather’s granddaughter.


SDB files. At least one entire box of the above consists of SDB submissions. Is someone still working on this (under a different name, perhaps)? Have things in this box already been entered? Or has the whole project been abandoned? Another “complication”—separating SDB submissions from correspondence about the whole SDB process/dream...  



Here is where things get really crazy. In spite of being “my grandfather’s granddaughter,” I didn’t catch the Shakespeare bug, but I am fascinated by his passion, his drive, etc., and as I’ve read some of his correspondence, articles he’s written, and articles written about him I wonder if there might be a “story” here. Several “stories,” in fact, and not just limited to an audience of other Shakespeare scholars and/or fanatics. Hell, even just compiling a collection of his essays/editorials from 40+ years of SNL seems like “something” ... a jumping-off avenue. For a few days I was bouncing back and forth between the SNL boxes and the correspondence boxes, and I would find references in correspondence to something I’d seen in passing in SNL, or in some other box, or a reference in SNL that explained some massive pile of souvenirs/ephemera/memorabilia. Cross-references in physical space/objects rather than in an index. Often things that, taken alone, don’t seem especially interesting, but that become relevant when the three or more “outposts” are brought together. I know and appreciate Lou Marder far, far more now than I ever did when he was alive, but my interest here is in him as an interesting and eccentric individual who had a wealth of knowledge and non-stop ideas and vision. I won’t say he was failure as a father, husband, and grandfather, but, well.... his interests and talents were devoted elsewhere. In other words, it’s not sentimentality that keeps me buried in his papers and wondering whether there is something here.


Clearly (I think it’s clear, anyway), one of the more significant topics is his pursuit of the SDB. I was blown away when I found a letter he wrote in 1957 proposing the idea. 1957! A couple days ago I came across the roster for an IBM seminar he attended in 1958 – all sorts of scientists, engineers, corporate reps, and him (also a psychology prof). Anyway, so much of the correspondence on the subject (directly with IBM, Kodak, and many others) goes well over my head, but if some “computer historian” were writing an account of his “journey” (perhaps his and his contemporaries’)....


Similarly, accounts of some of his other greater passions, e.g., the authorship controversy (including the friendship between him and Francis Carr), The Globe reconstruction, teaching Shakespeare, would be better written by someone who knows Shakespeare... yet there’s something about Lou’s way with words (and passion) when he wrote about these things that it seems like there is potential for the topics to be interesting to someone like me... I’m writing/thinking in circles. Trying to put my chaotic brainstorm into an e-mail to a stranger. 


There is one folder filled entirely with correspondence with his Chinese friends (fans of Shakespeare). I also had no idea how many times he’d been “published” in places other than SNL, nor in how many articles have been written about him. 


I would even be interested in including the more challenging aspects of his personality and efforts, e.g., the ADHD likelihood (the greatest argument we ever had was when I revealed to him my own Adult ADHD diagnosis, inattentive type), and how it impacted him, personally and professionally. How it helped, how it hurt, and whether it can help explain some occasional poor decisions. Forty years’ worth of correspondence reveal recurring themes. :)


There are also other bunches of stuff are in limbo between (among?) archives/salable/trash/donations – programs, posters, engravings (book illustrations), slides, LPs, filmstrips, etc. 


Anyway, this has all been preventing me from getting on with my life, both in the physical sense (too much stuff to move from point A to point B, too “valuable” to just throw away) and in the intellectual/emotional sense (sense of obligation, overwhelm, fear of doing the wrong thing, and yet also believing there’s a worthwhile writing/research project here but not knowing where—or having the confidence—to begin). Ages ago I had an idea of creating a Lou Marder website...if only I had. On the one hand I’m in an excellent place now (literally and figuratively) for finally doing it, but on the other, unfortunately, the need for income and getting rid of an enormous amount of stuff has become too urgent.


Kind of ironic, isn’t it? Confidence is one thing that Lou Marder never lacked.


Thank you for wading all the way through this, and in advance for any assistance/leads you can offer!


Laurie Marder


Graduate Scholar-in-Residence Program | Newberry

The Shakespeare Conference: SHK 26.183  Wednesday, 14 April 2015


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

Date:         April 12, 2015 at 12:56:05 PM EDT

Subject:    Graduate Scholar-in-Residence Program | Newberry


Graduate Scholar-in-Residence Program


The Newberry Graduate Scholar-in-Residence program encourages PhD candidates in the humanities to conduct research in our collection and to join our community of scholars for a full academic year. We invite graduate students with advanced PhD candidacy to apply for this status, with preference given to those whose dissertation projects are well advanced. Graduate Scholars-in-Residence at the Newberry are expected to be “in residence” at the Newberry at least 10 hours per week from September to May, which will enable them to make good use of the collection and participate in the Newberry’s intellectual community. Like postdoctoral Scholars-in-Residence, Graduate Scholars-in-Residence should be willing to provide a small amount of service to the Newberry. Although the Newberry cannot offer remuneration to Graduate Scholars-in-Residence, we can offer some privileges, including reserve carrel space for paged materials, access to the Newberry during extended hours, and opportunities to present work-in-progress to the Newberry’s scholarly community.


Applications to become a Graduate Scholar-in-Residence are accepted each year in the spring. The applications for the 2015-16 academic year are due on May 1, 2015. We expect to notify applicants about their acceptance in June 2015. New Graduate Scholars-in-Residence are expected to begin their residences in the first week of September so that they can join the new long-term fellows in Fall Orientation activities.


If you have any questions about the webform, application materials, or the Graduate Scholars-in-Residence program, please email This email address is being protected from spambots. You need JavaScript enabled to view it..


Apply to be a Newberry Library Graduate Scholar-in-Residence

Please read the following Application Guidelines carefully before submitting your application.



Application Guidelines


Using the Webform

All application materials must be submitted together electronically through the appropriate Newberry Library webform. The webform cannot be submitted partially, nor can it be revised once it has been submitted. Applicants must complete the webform and upload their project description and CV in order for their application to be considered complete.


The Newberry will not accept re-submissions of materials. Once an application has been submitted, the Newberry will not accept any revisions or updates.


The Newberry will not accept application materials through postal or electronic mail.


PDF files are preferred but not required. The server will accept .doc, .docx, or .pdf files.


The Newberry server cannot accept attachments larger than 10 MB.

After you have successfully submitted your application, you will receive a confirmation screen. You will also receive an electronically generated email within 24 hours. If you have not received an email within the allotted time, please check your spam folder before contacting us.



Required Materials


The Graduate Scholar-in-Residence application consists of four elements, which will be reviewed by a sub-committee of the Newberry’s Academic Council.


1. The Webform, which asks for contact information, project information, and other details pertaining to being a Graduate Scholar-in-Residence at the Newberry. The Graduate Scholar-in-Residence Webform can be found here. Remember: Webforms cannot be saved for submission at a later date, and the Newberry will not accept additional or amended application materials once it has been submitted.


2. A Project Description of no more than 1,000 words. This document should describe the research project, explain its significance, enumerate the Newberry materials to be consulted, and outline a plan of work. Additionally, please describe any other ways that being in residence at the Newberry will help advance your dissertation. When prompted, upload the project description to the webform.


Please note that candidates’ need for and intensive use of the Newberry’s collections is a crucial factor in our consideration of applications. Thus, please be as specific as possible about the Newberry materials you would like to use. For information about the Newberry’s collection, see our Core Collections and consult the Online Catalog.


3. A current Curriculum Vitae (CV) of no more than five pages. Upload your CV to the webform when prompted. Please use the following commonly accepted terms to describe forthcoming publications:

  • “in progress” (not yet completed or submitted)
  • “submitted” (currently under review at a journal or press)
  • “accepted” (contracted for publication; currently under revision)
  • “in press” (in the hands of copy editor, typesetter, or printer)

4. Two Letters of Recommendation. These letters are required by the same deadline as all other application materials. Applicants are responsible for contacting their referees and making sure they submit their letters on time. Letters must be submitted through the Letter of Reference Webform.



Additional Information about Letters of Reference

  • Graduate Scholar-in-Residence applicants must have their dissertation advisor submit one of their letters of reference.
  • Letters must come directly from the letter writer, not from the applicant.
  • The Newberry will not accept letters sent through postal or electronic mail. We strongly prefer letters to be submitted via the Letter of Reference Webform.
  • Each letter should speak to the proposed project, the value to the applicant of a residency at the Newberry as well as to the qualifications of the applicant. Letters that speak of the applicant’s project in specific terms are more effective than general letters from a dossier.
  • The Newberry prefers to receive letters on institutional letterhead, with a signature (either electronic or manual).
  • The letters must be written in English.
  • References can submit their letters before the applicant has submitted their application.

Please Note: The Newberry will not accept applications which include any materials in excess of the Required Materials. Excessive materials include but are not limited to:

  • Images (either embedded or in appendices)
  • Project descriptions, appendices, or bibliographies exceeding the word limit
  • CVs longer than the five-page limit
  • Personal cover letters
  • Audio-visual materials

Digital Renaissance Editions Launched

The Shakespeare Conference: SHK 26.182  Wednesday, 14 April 2015


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

Date:         April 11, 2015 at 10:01:23 AM EDT

Subject:    Digital Renaissance Editions Launched




Digital Renaissance Editions officially launched during the Shakespeare Association of America meeting in Vancouver, on Saturday 4 April 2015. The project launched its new website with completed editions of The Honest Whore Parts One and Two (edited by Joost Daalder) and An Humorous Day's Mirth (edited by Eleanor Lowe).


Digital Renaissance Editions publishes open-access critical editions of non-Shakespearean early English drama and related materials. Each edition offers a fully annotated modern-spelling text, collations of textual variants, facsimiles and transcriptions of early textual witnesses, and generous introductions and commentary. A growing database of multimedia performance materials supplements the editions, and critical essays on topics relevant to the study of early English drama are soon to be commissioned. Digital Renaissance Editions shares the publication platform developed by the Internet Shakespeare Editions, allowing for complementary interlinking between both projects' editions and content. All content is subject to rigorous peer review, and is completely open access.


Some 50 scholars, theatre practitioners, directors of stage and screen, software developers and designers from around the world serve on the project's editorial and advisory boards. Such a project also relies on its users -- the scholarly community in particular -- to grow and thrive. We invite you to join our mission to expand the canon of early modern drama, one play at a time. We welcome your contributions, whether by proposing to edit a play for the series, submitting materials to the performance database and Critical Companion, using the completed editions and works-in-progress in your teaching and research, or by simply reporting bugs, errors, and areas of possible improvement to us. We have much to accomplish, and this is only the beginning.


Brett D. Hirsch

Coordinating Editor, Digital Renaissance Editions

Co-Editor, Shakespeare


Book Announcement: John Bell, Shakespeare and the Quest for a New Australian Theatre

The Shakespeare Conference: SHK 26.178  Tuesday, 14 April 2015


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

Date:         April 13, 2015 at 11:38:23 AM EDT

Subject:    John Bell, Shakespeare and the Quest for a New Australian Theatre


Adrian Kiernander. John Bell, Shakespeare and the Quest for a New Australian Theatre. Brill/Rodopi: Amsterdam.


John Bell, Shakespeare and the Quest for a New Australian Theatre 


This book about the work of actor director John Bell is essential reading for anyone interested in Australian theatre and in Shakespearean performance. Adrian Kiernander makes use of the Stage on Screen archive of Australian theatre with extensive video excerpts of performances, and lucidly explains how, for over five decades, Bell has revived and reinvented theatre in Australia with his interpretations of radical new drama and particularly his innovative approach to staging Shakespeare’s plays. This scholarly book reveals why Bell deserves the reputation as a ‘national living treasure’ and a giant of the Australian theatre. It presents a perspective on recent history and national identity through the achievements of theatre and its evolution over time. From carnivalesque to circus, tragedy to farce, Bell has created theatre that is dynamic, vibrant and politically aware and that continues to challenge and excite audiences.



“A major study of one of Australia’s most original and significant careers in the performing arts, which captures the verve and passion of the twentieth-century Australian cultural renaissance.

Himself an international scholar and professional director, Kiernander’s study of John Bell’s life in the theatre brilliantly explains the long and creative mutual relationship between Shakespeare, the Australian popular theatre tradition and ‘larrikin’ questioning of authority.”—Professor Veronica Kelly, University of Queensland.


Adrian Kiernander 

Adjunct Professor of Theatre Studies

School of Arts

University of New England 


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



York International Shakespeare Festival

The Shakespeare Conference: SHK 26.177  Tuesday, 14 April 2015


[1] From:        Judith Buchanan <This email address is being protected from spambots. You need JavaScript enabled to view it.>

     Date:         April 12, 2015 at 7:56:57 AM EDT

     Subject:    York International Shakespeare Festival 


[2] From:        Philip Parr <This email address is being protected from spambots. You need JavaScript enabled to view it.>

     Date:         April 12, 2015 at 11:56:57 AM EDT

     Subject:    York International Shakespeare Festival 




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

Date:         April 12, 2015 at 7:56:57 AM EDT

Subject:    York International Shakespeare Festival


Announcing the programme for the inaugural York International Shakespeare Festival - an ambitious new cultural venture for the North of England. 


For anyone in the UK in May, you can browse festival shows, talks and exhibitions here:


Highlights include: 


- The Northern Broadsides King Lear, directed by Sir Jonathan Miller

- Gala screening of the Asta Nielsen silent film of Hamlet with fresh score performed live

- Lampe’s comic mock-opera Pyramus and Thisbe

- Aki Isoda’s award-winning Japanese show, Two Shakespeare Heroines 

- Two Gents’ production of The Taming of the Shrew

- an all-female Romeo and Juliet

- public talks by Irena Makaryk, Ton Hoenselaars, Margreta de Grazia, Mike Cordner

- an international Shakespeare exhibition mounted in Tudor manor house Heslington Hall


Tickets can be booked here:


Do come!


Judith Buchanan

Professor of Film and Literature, University of York (UK)

co-Director, York International Shakespeare Festival



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

Date:         April 12, 2015 at 11:56:57 AM EDT

Subject:    York International Shakespeare Festival. 


Members of this list may like to know about the approaching first edition of a new International Shakespeare Festival – between May 8 – May 17, 2015


The festival, also known as YorkShakes, is brought about through an adventurous new partnership between York Theatre Royal, Parrabbola, and the University of York. With traditional retellings and original responses from both local and international production companies, the festival will explore the impact of Shakespeare over four hundred years after his final play. 


Shakespeare's work has been performed in the York area for four centuries; his play, Pericles, was performed locally as early as 1610, while the author was still alive. A city with a huge history and a flourishing future, York provides an intimate stage for a festival that will span across broad horizons. Appropriately, in a UNESCO City of Media Arts, the York International Shakespeare Festival will be a focus of international ideas and creativity.


A full festival programme can be found on the following link, and here are some highlights


From Catalonia, Companyia Pelmànec will bring The Diagnosis: Hamlet to the UK and present it in Spanish with English surtitles. Max – dressed in the uniform of an asylum – is desperate to be liberated  from  his pain and fear through the words of Shakespeare and one of his most complicated characters. The mesmerising combination of visual imagery, astounding puppetry and emotionally charged acting will be performed at St Peter’s School on Monday 11 and Tuesday 12 May. 


The University of York will play host to King Lear from Tuesday 12 – Saturday 16 May. After the critical and award-winning success of Rutherford & Son, Jonathan Miller will once again join forces with Northern Broadsides to direct the company’s Artistic Director Barrie Rutter in the title role. The story of a family at war with itself as Lear, an aging and deeply flawed man, wrecks his relationship with his three daughters and, in doing so, loses all he has. This is King Lear stripped back to its heart and soul – intimate, moving and utterly believable. Surrounding this event, the University of York have produced a pre-show lecture series which will explore both the nuance of performance and the cultural impact of King Lear.


Venues from across the city have opened their doors to York International Shakespeare Festival. The De Grey Rooms will host both the local York Shakespeare Project’s Timon of Athens and the Japanese performer Aki Isoda and her Two Shakespeare Heroines. The Guildhall Council Chambers will be the stage for Richard III produced by the University of York’s Drama Society. The Gillygate Pub is hosting both the intimate H(2)O and the hilarious Shakespeare in his Cups: the first an examination of the relationship between Hamlet and Ophelia from the Polish Teatr Strefa Otwarta of Wroclaw, the second a cheeky exploration of drink and drinking in the Bard’s work. At the National Centre for Early Music, Opera Restor’d will present Lampe’s sparkling comic opera Pyramus and Thisbe, conducted by Peter Holman 


A substantial supporting programme of talks, exhibitions, films, accompanies the performance programme.


follow us on twitter @yorkshakes


The festival is a member of the European Shakespeare Festivals Network


Philip Parr

Artistic Director


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


York International Shakespeare Festival


Speaking of Shakespeare

The Shakespeare Conference: SHK 26.165  Wednesday, 8 April 2015


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

Date:         April 7, 2015 at 3:05:48 PM EDT

Subject:    Speaking of Shakespeare



Estelle Parsons & Naomi Liebler Explore “Shakespeare’s Old Ladies”


Monday, April 13, at 7 p.m.

The Lambs

3 West 51st Street, New York

Members $5, Non-Members $10


For this special gathering, the Guild is delighted to join forces with The Lambs. A venerable theatrical society, its leaders have founded such prestigious organizations as Actors’ Equity, ASCAP, and the Screen Actors Guild. Hal Holbrook offered Mark Twain Tonight to his fellow Lambs before taking that celebrated show public. So it’s hard to imagine a better setting for Estelle Parsons and Naomi Liebler to reprise their dramatic exploration of Shakespeare’s Old Ladies, a dialogue that received sustained ovations when it was first presented in 2011 at the New York Public Library. A member of the American Theatre Hall of Fame and a former director of The Actors Studio, Ms. Parsons has been nominated for five Tony Awards and earned an Oscar as Blanche Barrow in Bonnie and Clyde (1967). Dr. Liebler, a professor at Montclair State, has published such acclaimed volumes as Shakespeare’s Festive Tragedy (1967). After their program, they’ll engage in a wide-ranging conversation with attendees.



Terry Alford Introduces Fortune’s Fool: The Life of John Wilkes Booth


Tuesday, April 14, at 6 p.m.

The National Arts Club

15 Gramercy Park South, New York

No Charge, But Reservations Requested


To mark the 150th anniversary of what has been described as the most dramatic moment in American history, we’re pleased to announce a special event with Terry Alford. A prominent Civil War historian who has an important article in this month’s Smithsonian, Dr. Alford will be introducing his long-awaited biography of an actor who co-starred with his two brothers in a November 1864 production of Julius Caesar, and who restaged a “lofty scene” from that tragedy five months later when he interrupted a rollicksome comedy at Ford’s Theatre. Fortune’s Fool: The Life of John Wilkes Booth will be launched during a dialogue that will occur on the same date as that notorious act, and in a setting adjacent to the final home of the assassin’s older brother. After a dialogue moderated by John Andrews, who has published articles about that traumatic event in The Atlantic and the New York Times, Mr. Alford will be happy to sign copies of his book, which will be available for purchase.      


Daniel J. Watermeier Discusses American Tragedian: The Life of Edwin Booth


Monday, May 12, at 7:00 p.m. 

The Lambs

3 West 51st Street, New York

Members $5, Non-Members $10


In the aftermath of what his younger brother did on Good Friday in April of 1865, Edwin Booth feared that his own career might be over. But he found a way to prevail over the infamy that John Wilkes Booth had brought not only to his family but to the theater profession. And over the decades that followed, Edwin established himself as his era’s leading actor, with special distinction in such classic roles as Brutus and Hamlet. In 1888 he founded The Players, and it was there that he died in 1893. To learn more about a fascinating artist and his many struggles, please join us for a gathering at which biographer Daniel J. Watermeier introduces American Tragedian: The Life of Edwin Booth, a long-awaited volume that is being described as definitive. After his conversation with John Andrews, Dr. Watermeier will be happy to inscribe copies of his latest publication.



Visit for details about these and other gatherings, among them a May 8 event at the University Club in Washington with Diana Owen of the Shakespeare Birthplace Trust, who will talk about recent developments at New Place in Stratford. 


Email This email address is being protected from spambots. You need JavaScript enabled to view it. or call (505) 988-9560 to register for these events. 


John F. Andrews, President

The Shakespeare Guild

5B Calle San Martin

Santa Fe, NM 87506-7536

(505) 988-9560 (Office)

(505) 670-9815 (iPhone)


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