The Shakespeare Conference: SHK 24.0493 Thursday, 25 October 2013
From: Hardy M. Cook <
Date: Friday, October 25, 2013
Subject: Saint Crispin’s Day
Hello, from the Blackfriars Conference to all SHAKSPEReans.
It has been a delight to meet old friends and to put faces to SHAKSPEReans who I am meeting in person for the first time.
As Ann Thompson reminded us this morning, today is Saint Crispin’s Day, the feast day of the Christian saints Crispin and Crispinian, twins who were martyred c. 286 CE. I wish the best on this feast day to all present at the Blackfriars Conference and to Shakespearean everywhere.
One of the joys of the Blackfriars Conference is that tickets to the five shows in the fall season of the American Shakespeare Company are included in the price of admission; a splendid time is guaranteed for all.
Now that I have “Being for the Benefit of Mr. Kite!” stuck in my head, I would like to come to the purpose of this note.
Seeing five plays in five days is certainly not the norm, but I would like to remind subscribers that if you are inclined to review any of the Shakespeare productions you have seen, they will not only appear on SHAKSPER but also they will be shared with The Internet Shakespeare Editions Performance Chronicle: http://isechronicle.uvic.ca.
I wish everyone the joy of hearing and seeing, the joy of performance,
The Shakespeare Conference: SHK 24.0491 Wednesday, 23 October 2013
From: Sujata Iyengar <
Date: October 23, 2013 9:20:47 AM EDT
Subject: B&L 8.1 is out!
The Editors of Borrowers and Lenders: The Journal of Shakespeare and Appropriation rejoice at the release of B&L 8.1, which includes: a special cluster on nineteenth-century women actors, artists, and authors, with ground-breaking images of Sarah Bernhardt’s sculptures by Alan Young; discussions of Fanny Kemble, Ellen Tree, and Joanna Baillie, by Anne Russell and Judith Slagle; an article on proto-feminist Shakespearean editors in 19thc. America, by Tricia Lootens; multi-media-rich essays by Peter Erickson and Amy Scott-Douglass on Toni Morrison’s Desdemona and the Met Opera’s The Enchanted Island, respectively; and Sarah Olive’s argument for the term “incidental appropriation” to address glimpses of Shakespeare in British popular reality television shows (of which you can even watch glimpses in streaming video clips). Visit us at www.borrowers.uga.edu, share this message, and “like” our Facebook page if you haven’t already!
Dr. Sujata Iyengar, Professor of English
Co-general editor of Borrowers and Lenders: The Journal of Shakespeare and Appropriation
Department of English
University of Georgia
Athens, GA 30602-6205
706 542 1261 (messages only)
Greater New York Chapter of the American Musicological Society
The Shakespeare Conference: SHK 24.0489 Tuesday, 22 October 2013
From: Jeff Dailey <
Date: October 19, 2013 12:31:36 PM EDT
Subject: Greater New York Chapter of the American Musicological Society
The fall meeting of the Greater New York Chapter of the American Musicological Society will take place on Saturday, October 26th, at the Opera Learning Center in the Metropolitan Opera Guild’s headquarters at Lincoln Center. The theme for the meeting is “Music and Shakespeare.”
Here is the schedule:
12:15-12:45 Introducing a new opera—Hamlet by Nancy van de Vate, with live performance of excerpts
12:45-2:15 1st paper session
Ren Draya - The Music in Shakespeare’s Othello
Samanatha Bassler - Music and Disability in Shakespeare
Ji Yeon Lee - Climax and Anti-Climax: Verdi's Musical Rendering of Lady Macbeth’s Dramatic Narrative
2:30-3:30 Panel Discussion--Using Music to Teach Shakespeare; Using Shakespeare to Teach Music
3:45-5:15 2nd paper session
Alessandra Jones Massenet’s Scènes Dramatiques (1874) and the French Art of Distilling Shakespeare
Jacqueline Sholes - “Joseph Joachim’s Overture to Hamlet in Relation to Shakespeare and Liszt”
Melissa Khong - Ophelia as Creative Agency in Guillaume Lekeu’s Second Symphonic Etude
It will be held in the Opera Learning Center at 70 Lincoln Center Plaza, 6th floor. For directions, go to http://www.metguild.org/MOG/About_The_Guild/Guild_FAQ.html?TM=111menuid=118
Abstracts of the papers may be found on the chapter's website: http://ams-gny-meetings.blogspot.com/
All are welcome to attend.
For further information, e mail
CFP: Thirteenth Annual Undergraduate Shakespeare
The Shakespeare Conference: SHK 24.0488 Tuesday, 22 October 2013
From: Sharon Yang <
Date: October 17, 2013 2:38:24 PM EDT
Subject: CFP: Thirteenth Annual Undergraduate Shakespeare
Thirteenth Annual Undergraduate Shakespeare Conference
“Shakespeare Noir: Destabilization, Corruption, Irruption, Illumination, Liberation”
Saturday, April 26th, 2014 at Worcester State University, Worcester, MA.
Much like film noir in the 1940s and ’50s Shakespeare’s drama and poetry explore the seamy underside of order, respectability, and morality. This conference will look for papers that explore how texts and performances related to Shakespeare destabilize, expose, or illuminate the faux stability of the Elizabethan world picture or the various eras in which the plays and poems have been presented and studied, as well as fetishizing Shakespeare. Possible topics might include exploring:
How Shakespeare’s plays and poems themselves challenge views of
religion and faith
the demonic and the divine
class and gender roles
science and nature
the virtue or destructiveness of art (especially in terms of the theater)
How Shakespeare and his work have been marshaled/manipulated/exploited to reflect specific political, social, philosophical, and aesthetic views through
stage and film productions
paratexts or adaptations on the page, stage, or screen
literary criticism; etc.
Proposals of approximately 300 words due March 14, 2014. Papers length should be gauged for 15 minutes reading time.
$10.00 conference registration fee
Contact Person: Dr. Sharon R. Yang, English Department, Worcester State University, Worcester, MA 0160
Sponsors: Worcester State University, Undergraduate Shakespeare Conference Consortium
Mellon Fellowships in Critical Bibliography at Rare Book School
The Shakespeare Conference: SHK 24.0487 Tuesday, 22 October 2013
From: Donna Sy <
Date: October 18, 2013 4:46:23 PM EDT
Subject: Mellon Fellowships in Critical Bibliography at Rare Book School
Rare Book School welcomes applications from scholars of Shakespeare to the Andrew W. Mellon Fellowship of Scholars in Critical Bibliography. The aim of this Mellon Foundation-funded fellowship program is to reinvigorate bibliographical studies within the humanities by introducing doctoral candidates, postdoctoral fellows, and junior faculty to specialized skills, methods, and professional networks for conducting advanced research with material texts. RBS selected its first twenty Mellon Fellows in the spring of 2013, and will admit an additional twenty fellows to the program in the spring of 2014.
Fellows will receive funding for Rare Book School course attendance, as well as generous stipends, and support for research-related travel to special collections, over the course of three years. Weeklong intensive courses at Rare Book School cover topics such as paleography, codicology, scholarly editing, and the history of the book.
The deadline for application to the program is DECEMBER 2, 2013. Applicants must be doctoral candidates (post-qualifying exams), postdoctoral fellows, or junior (untenured) faculty in the humanities at a U.S. institution at time of application. Interested scholars are encouraged to apply as soon as possible. For more details, please visit:
Donna A. C. Sy
Mellon Fellowship Program Director
Rare Book School
RARE BOOK SCHOOL RECEIVES MELLON FOUNDATION GRANT TO SUPPORT FELLOWSHIPS IN CRITICAL BIBLIOGRAPHY
Fellowship program seeks to reinvigorate bibliographical studies within the humanities
Charlottesville, VA, October 17, 2013 – Rare Book School (RBS) at the University of Virginia has been awarded a $783,000 grant from the Andrew W. Mellon Foundation to extend and augment its three-year fellowship program, the Andrew W. Mellon Fellowship of Scholars in Critical Bibliography, which was established in 2012 through funding from the Foundation. The aim of the program is to reinvigorate bibliographical studies within the humanities. RBS selected its first twenty Mellon Fellows in the spring of 2013, and will admit an additional twenty fellows to the program in the spring of 2014.
The Mellon Fellowships at Rare Book School will enable a select group of doctoral candidates, postdoctoral fellows, and junior faculty in the humanities to receive advanced, intensive training in the analysis of textual artifacts. Led by a distinguished faculty drawn from the bibliographical community and professionals in allied fields, fellows will attend annual research-oriented seminars at Rare Book School and at major special collections libraries nationwide. Fellows will also receive stipends to support research-related travel to special collections, and additional funds to host academic symposia at their home institutions.
“I am grateful to the Foundation for its generous support of our Mellon Fellowship program, which seeks to help early-career humanities scholars incorporate bibliographical and book-historical methods into their research and teaching,” said RBS Director Michael F. Suarez, S.J. “We intend to build on the successes of the first phase of our Mellon Fellowship program by encouraging a more extensive collaborative dialogue among our fellows, who will continue to represent a wide variety of disciplines, ranging from musicology and the digital humanities to art history and American studies.”
The deadline for application to join the program’s second cohort of fellows is December 2, 2013. More information about the Andrew W. Mellon Fellowship of Scholars in Critical Bibliography is available at: http://www.rarebookschool.org/fellowships/mellon.
About Rare Book School (RBS)
Rare Book School provides continuing-education opportunities for students from all disciplines and levels to study the history of written, printed, and born-digital materials with leading scholars and professionals in the fields of bibliography, librarianship, book history, manuscript studies, and the digital humanities. Founded in 1983, RBS moved to its present home at the University of Virginia in 1992. RBS is a not-for-profit educational organization affiliated with the University of Virginia. More information about RBS is available on its website: http://www.rarebookschool.org.
For more information, contact:
Jeremy Dibbell, Director of Communications & Outreach
Rare Book School
Harry Lennix to Screen Shakespeare Adaptation in Memphis
The Shakespeare Conference: SHK 24.0482 Wednesday, 16 October 2013
From: Newstok_Scott <
Date: October 16, 2013 5:48:21 AM EDT
Subject: Harry Lennix to Screen Shakespeare Adaptation in Memphis
Harry Lennix to screen Shakespeare adaptation in Memphis, November 2
In 2008, Rhodes College hosted the symposium “Shakespeare in Color,” which explored African American adaptations and appropriations of “Macbeth.” This conference led to the 2010 collection of essays “Weyward Macbeth: Intersections of Race and Performance.”
One of the symposium participants, Hollywood actor Harry Lennix (who starred in Julie Taymor’s 1999 film “Titus Andronicus”), recently produced an adaptation of Shakespeare’s “Henry IV” plays. “H4” is set in contemporary Los Angeles in order to explore political struggles in the black community:
“H4” will be screened at the Indie Memphis Film Festival (9pm, November 2, Playhouse on the Square).
Lennix and screenwriter Ayanna Thompson (GWU) are scheduled to attend and participate in a Q&A after the screening.
Co-sponsored by the Pearce Shakespeare Endowment; African American Studies and Film Studies at Rhodes College; African and African American Studies at the University of Memphis; and presented in collaboration with Hattiloo Theatre and Indie Memphis.
Please contact Scott Newstok (
) for further information.
Shakespeare at Rhodes
Shakespeare Night at the Blackfriars
The Shakespeare Conference: SHK 24.0478 Monday, 14 October 2013
From: Geoff Pond <
Date: October 12, 2013 2:36:18 AM EDT
Subject: Shakespeare Night at the Blackfriars
Quills are drawn. The competition is fierce and poetic. Come and root for your favorite playwright!
A world premiere
By George Crowe
Shakespeare Night at the Blackfriars: London Idol 1610
Directed by Robert Currier
In Elizabethan London, home to the most celebrated writers at the height of their brilliance, English literature is flowering, but Richard Burbage’s Blackfriars Theatre is not faring well. Outside, the plague assails its doors, and the distant threat of war draws nearer. Brooding in his echoing theater one weather-beaten night, Richard Burbage is lost in thought. “How might I resurrect this house? Another raucous bear pit, brothel, a drinking den?”
An audacious thought comes to him:
He will host a playwriting contest! LONDON IDOL 1610 is born.
Richard Burbage challenges playwrights William Shakespeare, Ben Jonson, Thomas Middleton, Francis Beaumont and the ghost of Christopher “Kit” Marlowe to compete with each other by presenting their one page “cover” plays based on Shakespeare’s best-known works. Dozens of the Bard’s characters careen from bawdy sex romp to wistful reverie in this witty, irreverent grand bouffe. Cross-dressing, cunning, low humor, corsets, loony violence—it’s all here, played by a spry, nuanced ensemble recruited from the Bay Area’s most accomplished comic actors.
George Crowe's nimble, naughty script spoofs and teases Shakespeare's phenomenal wordplay to make this the highlight of this theater season.
George Crowe has had many plays produced locally and nationally since the 1970's, including PARABLE FOR A DARK TIME at the Golden Thread Theater, THE FALSE SERVANT at Abydos Theatre.
Robert Currier, co-founder and Artistic Director of Marin Shakespeare Company, has directed most of the Bard’s masterpieces since the late 1980’s.
The cast: Maureen Coyne, Debi Durst, Amy Lizardo, Mantra Plonsey, Geoffrey Pond, Jeff Trescott, Michael Walraven, original music composed and performed by Cindy Webster and Mantra Plonsey
Shakespeare at the Blackfriars
Runs October 18 through November 17, 2013
The Phoenix Annex Theatre
414 Mason Street in San Francisco
Fridays and Saturdays at 8pm
and Sundays at 7pm.
General Admission $25.00
Students & Seniors $20.00
For reservations & press info, please call 510-276-3871
CFP: Shakespeare in Popular Culture Area, SWPACA 2014
The Shakespeare Conference: SHK 24.0466 Tuesday, 1 October 2013
From: Jessica Maerz <
Date: September 30, 2013 3:18:18 PM EDT
Subject: CFP: Shakespeare in Popular Culture Area, SWPACA 2014
The following CFP may be of interest to the SHAKSPER-L readership.
CFP: Southwest Popular/American Culture Association
Shakespeare in Popular Culture
Feb. 19-22, 2014
The Shakespeare in Popular Culture Area is now accepting proposals for the Southwest Popular / American Culture Association’s 35th annual conference, which will be held at the Hyatt Regency Hotel and Conference Center in Albuquerque, NM.
This year’s theme is “Popular & American Culture Studies: Yesterday, Today, & Tomorrow”; we welcome proposals that engage with the overarching conference theme, as well as those that treat the convergence of Shakespeare, pop culture, and mediatization more broadly.
Potential topics might include: global Shakespeares; inter- and cross-cultural Shakespeares; Shakespearean auteurs; digital Shakespeares; screen Shakespeares; Shakespeare and the digital humanities; and postmodern Shakespeares.
Please submit a CV and 250 word proposal to conference2014.southwestpca.org by November 1, 2013. Inquiries may be directed to Area Chair Jessica Maerz at
Details about the conference, including information about conference travel and graduate student awards, can be found at www.southwestpca.org.
Jessica M. Maerz
Assistant Professor of Theatre Studies
School of Theatre, Film, and Television
University of Arizona
New Section Launch for B&L: Call for Submissions
The Shakespeare Conference: SHK 24.0462 Monday, 30 September 2013
From: Sujata Iyengar <
Date: September 27, 2013 4:58:21 PM EDT
Subject: New Section Launch for B&L: Call for Submissions
CALL FOR SUBMISSIONS to a new “Digital Appropriations” section of Borrowers and Lenders: The Journal of Shakespeare and Appropriation (or B&L)
B&L is a peer-reviewed scholarly journal publishing original scholarship on the afterlives of Shakespearean texts and their literary, filmic, multimedia, and critical histories. We publish two issues, online, per year: <http://www.borrowers.uga.edu/ >. In addition to articles and article clusters (groups of two or more related articles with a short introduction by the cluster editor), we regularly publish three dedicated sections: Appropriations in Performance, Notes, and Book Reviews.
We are pleased to announce a new fourth section, “Digital Appropriations,” edited by Dr. Michael Ullyot, Assistant Professor (English) at the University of Calgary: < http://ullyot.ucalgaryblogs.ca/ > or <http://zeugmatic.org/ >.
We seek thesis-driven reviews of the following:
[a] Digital editions and encoded texts, particularly those focused on research and teaching applications. That includes student editions/multimedia apps; TEI-compliant encoded texts for adaptation, visualization, &c.; and other text-based resources.
[b] Projects, databases, visualizations, and other resources that build on Shakespeare’s texts and performance archives.
We also welcome proposals for reviews of digital objects that fall outside of these categories, including games or social-media appropriations.
Send queries, including proposals for reviews or review clusters, to the section editor: < ullyot[at]ucalgary.ca >.
We prefer thesis-driven reviews that make arguments about digital objects, rather than primarily descriptive or evaluative reviews. Arguments can focus on Shakespeare within the reviewed application or tool, or upon the digital affordances of these Shakespeare objects for teaching or research.
Reviews are normally between 1000 and 3000 words. We encourage authors to embed links and media, as appropriate, to take advantage of B&L’s medium, and to consult Richard Lanham’s Revising Prose or Joseph Williams’s Style: Lessons in Clarity and Grace as they edit their work. Upon acceptance, we will ask authors to verify all citations and to put their essays into the journal’s house style.
B&L is co-edited by co-founders Dr. Christy Desmet < cdesmet[at]uga.edu >and Dr. Sujata Iyengar < iyengar[at]uga.edu >; please address editorial correspondence to lenders[at]uga.edu or to Managing Editor Ms. Maria Chappell < machapp[at]uga.edu >.
Special Issue of Shakespeare on Global Shakespeares
The Shakespeare Conference: SHK 24.0458 Friday, 27 September 2013
From: Alexander Huang <
Date: September 26, 2013 2:43:50 PM EDT
Subject: Special Issue of Shakespeare on Global Shakespeares
Shakespeare (The British Shakespeare Association) Volume 9, Issue 3, September 2013
Special Issue on Global Shakespeares, edited by Alexander Huang
Available online: http://www.tandfonline.com/toc/rshk20/current#.UkR-NSR57rg
Video clips that accompany the articles are available on: http://globalshakespeares.mit.edu/
Global Shakespeares as Methodology
Alexander C. Y. Huang
Having reached a critical mass of participants, performances and the study of Shakespeare in different cultural contexts are changing how we think about globalization. The idea of global Shakespeares has caught on because of site-specific imaginations involving early modern and modern Globe theatres that aspired to perform the globe. Seeing global Shakespeares as a methodology rather than as appendages of colonialism, as political rhetorics, or as centerpieces in a display of exotic cultures situates us in a postnational space that is defined by fluid cultural locations rather than by nation-states. This framework helps us confront archival silences in the record of globalization, understand the spectral quality of citations of Shakespeare and mobile artworks, and reframe the debate about cultural exchange. Global Shakespeares as a field registers the shifting locus of anxiety between cultural particularity and universality. The special issue explores the promise and perils of political articulations of cultural difference and suggests new approaches to performances in marginalized or polyglot spaces.
Hamlet, the Heike and the Fall of Troy
Peter S. Donaldson
Postcolonial hybridity: The making of a Bollywood Lear in London
Caribbean tricksters at crossroads: Davlin Thomas’s Lear Ananci and Hamlet: The Eshu Experience
European touring stars and the Shakespearean distinction of the Spanish actor-manager in Madrid and Latin America (1898–1936)
Juan F. Cerdá
What's global about global Shakespeare? The case of Perttu Leppä's 8 päivää ensi-iltaan (8 Days to the Premiere)
Review of Sua Incelença, Ricardo III (directed by Gabriel Villela for Clowns de Shakespeare) at Largo da Ordem, Curitiba, Brazil, 29 March 2011
Anna S. Camati & Liana C. Leão
Review of Shakespeare’s Titus Andronicus (directed by Silviu Purcarete), the National Theater in Craiova, Romania, 14 March 1992
Review of Shakespeare’s The Winter’s Tale (Directed by Anirudh Nair and Neel Chaudhuri for The Tadpole Repertory and Wide Aisle Productions), Zorba the Buddha Performance Space, Ghitorni, New Delhi, India, 3 March 2013
Review of The Speaker’s Progress (directed by Sulayman Al-Bassam), Paramount Theatre, Boston, USA, October 12-16, 2011
Review of La Tempestad (directed by John Mowat for the Companhia do Chapitô) at the Corral de Comedias, Almagro, Spain, 23 July 2011
Carla Della Gatta
Review of Hamlet or Three Boys and One Girl (adapted and directed by Nikolay Georgiev and the @lma @lter Student Theatre-Laboratory) at the Theatre Hall of Sofia University, Bulgaria, 12 March 2013
Review of Shakespeare and APA’s Macbeth: Leila and Ben – A Bloody History (directed by Lotfi Achour) and the company's talkback at Re-making Shakespeare for the World Shakespeare Festival at the Northern Stage, Newcastle, UK, 14 July 2012
Saffron J. Walkling & Raphael Cormack
Review of Robert Lewis’ Red Hamlet (directed by Robert Lewis) for the Group Theatre, New York, October 1933
Review of Shakespeare’s Othello (directed by Nikos Charalambous for the Cyprus Theatre Organization) at Latsia Municipal Theatre, Nicosia, Cyprus, 27 November 2010
Giving a “Local Habitation” to “Airy Nothing”: Review of the Global Shakespeares Video and Performance Archive
Haylie Brooke Swenson