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CFP—Shakespeare 450: Shakespeare and Global Girlhood

 

The Shakespeare Conference: SHK 24.0289  Thursday, 13 June 2013

 

From:        Ariane Balizet < This e-mail address is being protected from spambots. You need JavaScript enabled to view it >

Date:         June 13, 2013 10:33:03 AM EDT

Subject:     CFP—Shakespeare 450: Shakespeare and Global Girlhood

 

Société française Shakespeare Conference: Shakespeare 450

Paris, April 21-27 2014

 

Call for papers: Shakespeare and Global Girlhood

Seminar leaders: Marcela Kostihová and Ariane Balizet

 

This seminar explores the ways in which Shakespeare is employed to define girlhood within and across national and cultural boundaries. When, how, and why does Shakespeare intersect with questions of girlhood? How does Shakespeare reflect, validate, or undermine debates over girls and girlhood? How are representations of girls in relation to Shakespeare (in adaptation, popular citation, or pedagogical practices) employed in conversations on global citizenship and/or national identity? We are particularly interested in papers (3,000-5,000 words) that identify Shakespearean influence in the study of girls and girlhood in advocacy, education, performance, artistic production (by, about, or marketed towards girls), cross-national politics, neoliberal subjectivity, citizenship, material culture, and health.

 

How does Shakespeare’s cultural capital influence the discourses of girlhood? The study of girls and girlhood has gained prominence in the past 20 years, marked by the rise of Girls’ Studies and the proliferation of interdisciplinary publications devoted to girlhood. In the United States, the 1994 publication of psychologist Mary Pipher’s Reviving Ophelia was a flashpoint in the legitimization of girlhood studies, linking one of Shakespeare’s tragic girl characters to the definition of Western female adolescence as a period of crisis. Since then, the name “Ophelia” has become powerfully associated with organizations that aim to “save” girls from bullying, eating disorders, and mental health issues (among other threats). International efforts explicitly dedicated to empowering women and young girls—such as the United Nations’ Resolution to designate October 11 the International Day of the Girl Child—reflect the idea that addressing the needs of young women is a global concern. In light of this increased awareness of the status of girls, events such as the assassination attempt of Pakistani blogger Malala Yousafzai—just two days before the first International Day of the Girl Child—reveal the profound and fundamental oppression facing many girls and their advocates worldwide. These tensions inform feminist scholarship on contemporary perspectives on Shakespeare’s girls, as modern productions and adaptations are increasingly set within a global context.  Despite the wealth of feminist scholarship on girls in Shakespeare, however, the extent to which Shakespeare’s cultural capital is used to articulate or authorize popular, political, and national definitions of girlhood has not received significant attention.

 

 

Proposals should be sent to This e-mail address is being protected from spambots. You need JavaScript enabled to view it and This e-mail address is being protected from spambots. You need JavaScript enabled to view it by July 15, 2013. Please include name, email, affiliation, brief bio, preliminary abstract (250 words) and title of your contribution.

 

 

Conference Website: http://www.shakespeareanniversary.org/?-Shakespeare-450-

 

Seminar Website: http://www.shakespeareanniversary.org/?Seminar-19-Shakespeare-and-Global

 

 

Ariane M. Balizet

Assistant Professor of English and Women’s Studies

Texas Christian University

Department of English

 
 
SGC 2014 - Call For Papers

 

The Shakespeare Conference: SHK 24.0288  Wednesday, 12 June 2013

 

From:        Sofia Novello < This e-mail address is being protected from spambots. You need JavaScript enabled to view it >

Date:         June 12, 2013 8:37:29 AM EDT

Subject:     SGC 2014 - Call For Papers

 

The British Institute of Florence 

Shakespeare and His Contemporaries 

Graduate Conference 2014 

 

 

Call for Papers 

6th Annual Postgraduate Conference 10th April 2014 

 

 The British Institute of Florence’s annual Shakespeare Graduate Conference is a one-day interdisciplinary and bilingual English- Italian forum open to PhD students and researchers who have obtained their doctorates within the past 5 years. This year’s conference theme is Shakespeare and His Contemporaries: Forms of Nationhood. Contributions are welcomed on the topic of national identity and representations of Elizabethan England in the literary production of William Shakespeare and his contemporaries (playwrights, poets and others) across different disciplines (not limited to): literature, comparative studies, history, art history, cinema and theatre history. 

 

Candidates are invited to send a description of their proposed contribution according to the following guidelines: 

  • the candidate should  provide  name, institution, contact info, title and short abstract of  the proposed contribution (200-300 words for 20-minute paper), explaining  the content and intended structure of the paper, and including a short bibliography.
  • abstracts are to be submitted by Wednesday 30 October 2013 by email to snovello@britishinstitute.it.
  • all proposals will be blind-vetted. The list of selected papers will be available by the end of November 2013.
  • each finished contribution is to last no longer than 20 minutes and is to be presented in English (an exception will be made for Italian candidates of  departments other than English, who can present   papers in Italian). Candidates whose first language is not English will need to have their proposals and final papers checked by a mother-tongue speaker.
  • participants will be asked to present a final draft of the paper a week before the Conference.
  • participants must be members of the Harold  Acton Library choosing between a 3, 6 or 12 month membership. Memberships can be paid for on the day of conference. For details on Library Membership rates and benefits please visit the website www.britishinstitute.it.
  • The British Institute cannot reimburse any travel or accommodation expenses.
  • paper submitted will be considered for publication in the onlin proceedings edition of the ‘Shakespeare  and  His Contemporaries Graduate Conference (see the website    www.britishinstitute.it for previous volumes of the proceedings).

 

Deadline for abstracts Wednesday 30 October 2013. 

 

For more information contact Sofia Novello at This e-mail address is being protected from spambots. You need JavaScript enabled to view it .  

 

 

Sofia Novello

Library Assistant & Co-ordinator of the Shakespeare Graduate Conference

The British Institute of Florence

Palazzo Lanfredini

Lungarno Guicciardini 9

50125 Firenze

Italia

 

 
 
“The Past and Future of the Book” Symposium, Memphis

 

The Shakespeare Conference: SHK 24.0287  Wednesday, 12 June 2013

 

From:        Scott Newstok < This e-mail address is being protected from spambots. You need JavaScript enabled to view it >

Date:         June 10, 2013 3:20:58 PM EDT

Subject:     “The Past and Future of the Book” Symposium, Memphis

 

“The Past and Future of the Book” Symposium

 

On October 10-11, 2013, the Pearce Shakespeare Endowment at Rhodes College will host a free public symposium on “The Past and Future of the Book”:

 

www.rhodes.edu/book

 

Invited speakers include Robert Darnton (Harvard University), Lukas Erne (University of Geneva), and Michael Witmore (Folger Shakespeare Library).

 

Co-sponsored by the Spence L. Wilson Chair in Humanities, the Marcus Orr Center for the Humanities at the University of Memphis, and the Rhodes College chapter of Phi Beta Kappa.

 

Please contact Scott Newstok ( This e-mail address is being protected from spambots. You need JavaScript enabled to view it ) for further information.

 

 

***

 

ABOUT THE PEARCE SHAKESPEARE ENDOWMENT

 

www.rhodes.edu/shakespeare

 

Thanks to the generosity of the late Dr. Iris Annette Pearce, Rhodes College enjoys an unusually wide range of Shakespeare-related resources. The Pearce Shakespeare Endowment was established in 2007 to enrich courses in Shakespeare and support events for the entire campus as well as the greater Memphis community. Dr. Pearce attended Rhodes College in the 1940s, when it was named Southwestern at Memphis, before graduating from Vanderbilt University. During World War II, she joined the women’s corps of the U.S. Naval Reserve (WAVES). As a medical student, she followed a long-established path in her family, where four generations of physicians preceded her. Yet she was also breaking new ground as a woman: she was one of only two female students in her University of Tennessee class; she served as the first female internal medicine resident at John Gaston Hospital (The Med); and she eventually became the director of the City of Memphis Hospitals while serving as a professor at the University of Tennessee. Her bequest generously continues to support her lifelong enthusiasm for Shakespeare. The late professor of Shakespeare studies at Rhodes, Dr. Cynthia Marshall, was instrumental in establishing preliminary planning for this bequest.

 
 
Summer Shakespeare Plays and Festivals

The Shakespeare Conference: SHK 24.0284  Monday, 10 June 2013

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

Date:         Monday, June 10, 2013

Subject:     Summer Shakespeare Plays and Festivals

 

The starting point for this list is both Steven McElroy’s May 16, 2013, New York Times list of Summer US and Canadan Summer Shakespeare Festivals.

 

http://theater.nytimes.com/2013/05/19/theater/summer-2013-theater-listings.html?pagewanted=all&_r=1&

 

and 

 

Colleen Kennedy’s European Summer Shakespeare Festivals: http://theshakespearestandard.com/a-great-feast-of-languages-european-summer-shakespeare-festivals-global-shakespeare-news-for-the-week-of-june-8-2013/

 

All additions are welcomely e_mailing the editor at This e-mail address is being protected from spambots. You need JavaScript enabled to view it .

 

 

 

Summer Shakespeare Plays and Festivals

 

ARKANSAS

 

ARKANSAS SHAKESPEARE THEATER, June 6-30. Village at Hendrix in Conway and the Argenta Arts District in North Little Rock: “Much Ado About Nothing”. At Reynolds Performance Hall, Arkansas Shakespeare: “King Lear,” “A Midsummer Night’s Dream” (866) 810-0012, arkshakes.com.

 

 

CALIFORNIA

 

CALIFORNIA SHAKESPEARE THEATER Orinda. “Romeo and Juliet” (July 3-July 28), “A Winter’s Tale” (Sept. 25-Oct. 20 ). (510) 548-9666, calshakes.org.

 

SHAKESPEARE SANTA CRUZ July 23-Sept. 1. Sinsheimer-Stanley Festival Glen: “The Taming of the Shrew” and “Henry V”. 

 

THE OLD GLOBE San Diego. June 2-Sept. 29. “A Midsummer Night’s Dream,” “The Merchant of Venice” and “Rosencrantz and Guildenstern Are Dead.” (619) 234-5623, theoldglobe.org.

 

 

COLORADO

 

COLORADO SHAKESPEARE FESTIVAL Boulder. Mary Rippon Theater: “A Midsummer Night’s Dream” (June 8-Aug. 11), “Macbeth” (June 29-Aug. 10). University Theater: “The Complete Works of William Shakespeare (Abridged)” (June 14-Aug. 10) and “Richard II” (July 19-Aug. 11). (303) 492-8008, coloradoshakes.org.

 

 

CONNECTICUT

 

INTERNATIONAL FESTIVAL OF ARTS AND IDEAS New Haven, June 15-29. “A Midsummer Night’s Dream.” (888) 278-4332, artidea.org.

 

 

DISTRICT OF COLUMBIA

 

SHAKESPEARE THEATER COMPANY Sidney Harman Hall: “Much Ado About Nothing ” (Aug. 20-Sept. 1), Lansburgh Theatre: “The Winter’s Tale” (through June 23). (202) 547-1122, shakespearetheatre.org.

 

 

ILLINOIS

 

CHICAGO SHAKESPEARE THEATER “Chicago Shakespeare in the Parks” production of “The Comedy of Errors” (July 26-Aug. 25). (312) 595-5600, chicagoshakes.com.

 

 

Indiana

NOTRE DAME SHAKESPEARE FESTIVAL The Comedy of Errors (July 21 – August 26). Richard III  (August 20 – September 1). Othello (September 18 – 20).  shakespeare.nd.edu

 

 

MAINE

 

MAINESTAGE SHAKESPEARE July 5-Aug. 10. “Hamlet” and “Much Ado About Nothing,” “The Complete Works of Shakespeare (Abridged).” (207) 467-5118, (207) 646-5511, ogunquitplayhouse.org.

 

 

MARYLAND

 

CHESAPEAKE SHAKESPEARE COMPANY Ellicott City. “Antony and Cleopatra” (June 7-July 14) and “Taming of the Shrew” (June 21-Aug. 4). (410) 313-8661, chesapeakeshakespeare.com.

 

 

MASSACHUSETTS

 

COMMONWEALTH SHAKESPEARE COMPANY Boston, July 6-28. “The Two Gentlemen of Verona”. (617) 426-0863, commshakes.org.

 

SHAKESPEARE & COMPANY Lenox. “Women of Will”, “The Tempest,” “Love’s Labour’s Lost” (June 22-Sept. 1) and “Richard II” (July 5-21). (413) 637-3353 , shakespeare.org.

 

VINEYARD PLAYHOUSE Tisbury Amphitheater “Henry IV” (July 17-Aug. 17). (508) 693-6450, vineyardplayhouse.org.

 

 

NEVADA

 

LAKE TAHOE SHAKESPEARE FESTIVAL “A Midsummer Night’s Dream” (July 12-Aug. 25). (800) 747-4697, laketahoeshakespeare.com.

 

 

NEW JERSEY

 

SHAKESPEARE THEATER OF NEW JERSEY “As You Like It” (June 19-July 28). 408-5600, shakespearenj.org.

 

 

NEW YORK CITY

 

DELACORTE THEATER Central Park. “Comedy of Errors” (May 28-June 30 ), “Love’s Labour’s Lost, A New Musical” (July 23-Aug. 18), a special musical adaptation of “The Tempest” (Sept. 6-8). (212) 967-7555, shakespeareinthepark.org.

 

 

NEW YORK STATE

 

CHAUTAUQUA THEATER COMPANY “Comedy of Errors” (Aug. 9-16). (716) 357-6250, theater.ciweb.org.

 

HUDSON VALLEY SHAKESPEARE FESTIVAL Garrison, June 11-Sept. 1. “King Lear” and “All’s Well That Ends Well”. (845) 265-9575, hvshakespeare.org.

 

SHAKESPEARE IN DELAWARE PARK Buffalo. “Hamlet” (June 20-July 14) and “Measure for Measure” (July 25-Aug. 18). (716) 856-4533, shakespeareindelawarepark.org.

 

 

OREGON

 

OREGON SHAKESPEARE FESTIVAL Ashland, through Nov. 3. “Cymbeline,” “A Midsummer Night’s Dream,” “King Lear,” “The Taming of the Shrew.” (541) 482-4331, osfashland.org.

 

 

PENNSYLVANIA

 

PENNSYLVANIA SHAKESPEARE FESTIVAL “Measure for Measure” (July 18-Aug. 4) and “Henry VIII” (July 24-Aug. 4) at DeSales University . (610) 282-9455, pashakespeare.org.

 

 

TENNESSEE

 

NASHVILLE SHAKESPEARE FESTIVAL “A Midsummer Night’s Dream” (Aug. 15-Sept. 15). (615) 255-2273, nashvilleshakes.org.

 

 

UTAH

 

UTAH SHAKESPEARE FESTIVAL Cedar City, June 24-Oct. 19. “The Tempest,” “King John.” (800) 752-9849, bard.org.

 

 

VERMONT

 

VERMONT SHAKESPEARE COMPANY “The Winter’s Tale” at Oakledge Park in Burlington (Aug. 8-18). (877) 874-1911, vermontshakespeare.org.

 

 

VIRGINIA

 

AMERICAN SHAKESPEARE CENTER Staunton. June 11-Sept. 1. “Romeo and Juliet,” “All’s Well That Ends Well.” (877) 682-4236, ASCStaunton.com.

 

 

WISCONSIN

 

AMERICAN PLAYERS THEATER Spring Green, June 8-Oct. 20. An adaptation of “Antony and Cleopatra”. “The Two Gentlemen of Verona,” “Hamlet” and Tom Stoppard’s riff “Rosencrantz and Guildenstern are Dead”. (608) 588-2361, americanplayers.org.

 

 

CANADA

 

STRATFORD FESTIVAL Ontario, through Oct. 20. “Romeo and Juliet,” “Othello,” “The Merchant of Venice” and “Measure for Measure”. (800) 567-1600, stratfordfestival.ca

 

 

CZECH REPUBLIC

 

Letní Shakespearovské slavnosti  (25 June- 7 September):  A Midsummer Night’s Dream, The Taming of the Shrew, Richard III (in two different productions/ translations: Czech and Slovak), Merry Wives of Windsor, Two Gentlemen of Verona, Love’s Labour’s Lost, and Twelfth Night. 

 

Summer Shakespeare Festival Ostrava (22 July- 9 August): This sister festival to Prague summer Shakespeare Festival: Midsummer Night’s Dream, Two Gentlemen of Verona, Merry Wives of Windsor, Richard III, and Love’s Labour’s Lost. 

 

 

GERMANY

 

Shakespeare Festival in Globe Neuss (13 June-13 July): With Shakespeare in Love–Sonette für the Dark Lady (the “Dark Lady” sonnets), As You Like It (Kote Jarjanishvili State Drama Theatre from Tiflis), Twelfth Night (the Propeller Company), A Midsummer Night’s Dream (Bremer Shakespeare Company), King Lear (Globe Theatre on Tour),  Der Kaufmann vo Venedig (The Merchant of Venice) (Sad Rheinische Landestheater), As You Like It (bat-Studiotheater der Hoschule für Schauspielkunst Ernst Busch, Berlin)

 

Bremer Shakespeare Company  (Shakespeare in the Park, 14th - 18 August):  Richard III, Macbeth, Love’s Labour’s Lost, Pericles, and A Midsummer Night’s Dream. 

 

Shakespeare Company Berlin (12 June- 21 September):  Macbeth, Richard III, A Midsummer Night’s Dream, All’s Well That Ends Well, Romeo and Juliet, The Tempest, and The Taming of the Shrew. 

 

 

HUNGARY

 

Shakespeare Festival Gyula (4-15 July): Shakespeare Sonnets (Ildikó Mándy Company), Hamlet (Joint performance of the Gyula Castle Theatre and the Tamási Áron Theatre of Sfântu Gheorghe, dir. László Bocsárdi), W.S.: Hamlet (Performed by the University Theatre and Film Arts Budapest, dir. Sándor Zsótér), Taming of the Shrew (A performance by The National Theatre Tirgu-Mures Tompa Miklós Company (RO), dir. Sorin Militaru).

 

 

POLAND

 

The Gdansk Shakespeare Festival (1-6 August): “Songs of Lear.” 

 

 

SPAIN

 

Festival Shakespeare (6-12 June): Julio César (dir. Paco Azorín ), Diagnòstic Hamlet (Cia. Pelmànec), Big Will Shakespeare  (dir. Quim Lecina), La caiguda de ‘HLa Julieta (dir. Oriol Broggi). 

 
 
CFP: British Shakespeare Association 6th Biennial Conference

The Shakespeare Conference: SHK 24.0282  Monday, 10 June 2013

From:        BSA < This e-mail address is being protected from spambots. You need JavaScript enabled to view it >

Date:         June 10, 2013 9:14:43 AM EDT

Subject:     CFP: British Shakespeare Association 6th Biennial Conference

 

British Shakespeare Association

 

Sixth Biennial British Shakespeare Association Conference Shakespeare: Text, Power, Authority

http ://shakespeare . stir . ac . uk/

University of Stirling, 3-6 July 2014

 

Keynote speakers

Professor Margreta de Grazia (University of Pennsylvania)

Professor Andrew Murphy (University of St Andrews)

Professor John Drakakis (University of Stirling)

Dr Colin Burrow (University of Oxford)

Dr Michael Bogdanov (Director, The Wales Theatre Company)

 

CALL FOR PAPERS

 

In the four hundred and fiftieth year since Shakespeare’s birth, this conference seeks to explore questions of authority for Shakespeare, in Shakespeare, and about Shakespeare. It aims to investigate the relationship between text, power, and authority, both in the writing of Shakespeare and in writing about Shakespeare. Shakespeare’s works ask us repeatedly to think about what constitutes authority, about where authority lies, and about the performance of authority. Shakespeare has also himself repeatedly been used as a form of cultural capital and authority, and we therefore also welcome contributions that explore some of the different ways in which his plays and poems have been deployed in various times and places. Shakespeare’s works prompt us to think about textual authority, too. What is textual authority? What makes one text more authoritative than another? How have ideas of textual authority changed over time, and what, politically, is at stake in these changes?

 

Topics may include, but are not limited to: 

  • Shakespeare’s biblical and classical authorities
  • Monarchy and sovereignty in Shakespeare’s works
  • Democracy and Republicanism in Shakespeare’s works
  • The representation and performance of power in Shakespeare’s works
  • Editing Shakespeare
  • Shakespeare and politics
  • Shakespeare(s) past and present
  • Re-writing and adapting Shakespeare
  • Writing about Shakespeare
  • Shakespeare’s critics and readers
  • Shakespeare on stage and screen
  • Shakespeare and copyright
  • Shakespeare and nationhood/identity (in the year of the Scottish referendum on independence, we particularly welcome proposals on Shakespeare and Scotland)
  • Shakespeare and institutional power
  • Teaching Shakespeare
  • Shakespeare and the visual arts

The conference programme will include lectures, papers, workshops, seminars, performances, and excursions.

 

We welcome proposals for papers or presentations (20 minutes), panels (90 minutes) or workshops (90 mins) on any aspect of the conference theme, broadly interpreted. Abstracts (250 words or less) should be sent to This e-mail address is being protected from spambots. You need JavaScript enabled to view it by 31 Jan 2014.

 

Participants must be members of the British Shakespeare Association at the time of the conference. Details of how to join can be found on the conference website:  http ://shakespeare . stir . ac . uk/

 

 
Oregon Shakespeare Festival Archive

 

The Shakespeare Conference: SHK 24.0266  Tuesday, 4 June 2013

 

From:        Mike Jensen < This e-mail address is being protected from spambots. You need JavaScript enabled to view it >

Date:         Monday, June 3, 2013 12:55 PM

Subject:     Oregon Shakespeare Festival Archive 

 

OSF News 

May 30, 2013

 

$200,000 GRANT FROM NEH TO SUPPORT DIGITIZATION OF ARCHIVAL COLLECTION

 

At-risk audiovisual collection spans the 77-year history of Oregon Shakespeare Festival

 

Ashland, Ore.—The Oregon Shakespeare Festival is thrilled to announce a three-year grant from the National Endowment for the Humanities (NEH) of $200,000 for “Digitizing and Creating Access to the Audiovisual Collection in the Oregon Shakespeare Festival Archives.”

 

The grant will enable OSF to preserve and make public the work of its founders, artists and innovators, which are documented in an extensive audiovisual collection. The deteriorating reel-to-reel tapes, 8mm and 16mm films and other aging and obsolete audiovisual formats are the cornerstone of the Archives and in immediate need of digitization. Seventy-five percent of the collection is unusable until now due to preservation concerns and technological obsolescence.  With digitization, these 2,655 at-risk tapes, films and videos will be preserved for future use and available for the first time.

 

“I am proud to be part of an organization that has been influential in state, regional and national arts and culture in America,” said OSF Artistic Director Bill Rauch. “As a frequent user of the Archives, I know first hand that it is a rich source of information about Shakespeare in performance, theatre production history, arts management and administration, theatre-based educational programming and how an arts organization can become a critical economic engine for a community. It is a relief and a joy to know that this history will not be lost, but recovered and used by many future students, scholars, researchers, theatre artists and theatre-lovers.”

 

The audiovisual collection spans the 77-year history of the Festival and comprises an unparalleled and comprehensive record of Shakespearean and theatrical performance by a single U.S. theatre company. The collection contains a rich variety of research and educational opportunities for a wide audience. Within its holdings are full-length recordings of every Festival production since 1950, with the exception of just 29. In one of the project’s results, researchers and listeners will be able to hear via the Internet, on OSF’s website, or by visiting the Archives, the entire Shakespearean canon three times over in a rich variety of OSF interpretations, with exemplary casts and before live audiences whose reactions are an essential part of the audio experience.

 

The production recordings are supplemented by recordings of 44 adaptations for radio broadcast, artist interviews (in more than 100 hours of oral histories), Shakespeare lectures by nationally and internationally renowned scholars and educators, production music, promotional recordings, and recordings of significant events in the company’s history.

 

For more about NEH grant awards go to: http://www.neh.gov/news/press-release/2013-04-09

 

Amy E. Richard

Media & Communications Manager

Oregon Shakespeare Festival

541-482-2111, ext. 240

www.osfashland.org

 
 
Oregon Shakespeare Festival Archive

 

The Shakespeare Conference: SHK 24.0266  Tuesday, 4 June 2013

 

From:        Mike Jensen < This e-mail address is being protected from spambots. You need JavaScript enabled to view it >

Date:         Monday, June 3, 2013 12:55 PM

Subject:     Oregon Shakespeare Festival Archive 

 

OSF News 

May 30, 2013

 

$200,000 GRANT FROM NEH TO SUPPORT DIGITIZATION OF ARCHIVAL COLLECTION

 

At-risk audiovisual collection spans the 77-year history of Oregon Shakespeare Festival

 

Ashland, Ore.—The Oregon Shakespeare Festival is thrilled to announce a three-year grant from the National Endowment for the Humanities (NEH) of $200,000 for “Digitizing and Creating Access to the Audiovisual Collection in the Oregon Shakespeare Festival Archives.”

 

The grant will enable OSF to preserve and make public the work of its founders, artists and innovators, which are documented in an extensive audiovisual collection. The deteriorating reel-to-reel tapes, 8mm and 16mm films and other aging and obsolete audiovisual formats are the cornerstone of the Archives and in immediate need of digitization. Seventy-five percent of the collection is unusable until now due to preservation concerns and technological obsolescence.  With digitization, these 2,655 at-risk tapes, films and videos will be preserved for future use and available for the first time.

 

“I am proud to be part of an organization that has been influential in state, regional and national arts and culture in America,” said OSF Artistic Director Bill Rauch. “As a frequent user of the Archives, I know first hand that it is a rich source of information about Shakespeare in performance, theatre production history, arts management and administration, theatre-based educational programming and how an arts organization can become a critical economic engine for a community. It is a relief and a joy to know that this history will not be lost, but recovered and used by many future students, scholars, researchers, theatre artists and theatre-lovers.”

 

The audiovisual collection spans the 77-year history of the Festival and comprises an unparalleled and comprehensive record of Shakespearean and theatrical performance by a single U.S. theatre company. The collection contains a rich variety of research and educational opportunities for a wide audience. Within its holdings are full-length recordings of every Festival production since 1950, with the exception of just 29. In one of the project’s results, researchers and listeners will be able to hear via the Internet, on OSF’s website, or by visiting the Archives, the entire Shakespearean canon three times over in a rich variety of OSF interpretations, with exemplary casts and before live audiences whose reactions are an essential part of the audio experience.

 

The production recordings are supplemented by recordings of 44 adaptations for radio broadcast, artist interviews (in more than 100 hours of oral histories), Shakespeare lectures by nationally and internationally renowned scholars and educators, production music, promotional recordings, and recordings of significant events in the company’s history.

 

For more about NEH grant awards go to: http://www.neh.gov/news/press-release/2013-04-09

 

Amy E. Richard

Media & Communications Manager

Oregon Shakespeare Festival

541-482-2111, ext. 240

www.osfashland.org

 
 
New York Times Article on Ado

The Shakespeare Conference: SHK 24.0264  Monday, 3 June 2013

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

Date:         June 1, 2013 8:10:03 PM EDT

Subject:     New York Times Article on Ado

 

[Editor’s Note: I had intended to include information about this NYTimes article about Joss Whedon’s Much Ado About Nothing film, but since Wednesday I have been laid out after a procedure and had forgotten about the article until I received a message from Mike Jensen that reminded me of my intention. Thanks for that Mike. –Hardy]

 

What follows is from a Wednesday, May 24, 2013, an article in the New York Times by Dave Itzkoff.

 

http://www.nytimes.com/2013/05/26/movies/joss-whedon-on-his-much-ado-about-nothing.html?ref=daveitzkoff&_r=0

 

Image from Joss Whedon’s Much Ado Poster: 

 

**********

How Shakespeare Saved ‘Avengers’

By Dave Itzkoff

May 24, 2013

 

“Honestly, if you’re not a workaholic,” Joss Whedon said recently, “this is hard to explain.”

 

Mr. Whedon, the prolific writer, producer and director, was speaking by phone from Los Angeles as he discussed an unusual moment in his life, in fall 2011, when he had just finished principal photography on the soon-to-be comic-book blockbuster “The Avengers.”

 

With some well-earned time off before he started postproduction on that movie — a $200 million behemoth that was easily the biggest project Mr. Whedon had taken on — he canceled an anniversary trip he had planned to take with his wife, Kai Cole.

 

Instead, Mr. Whedon used his break from a movie to make another movie: a black-and-white adaptation of Shakespeare’s “Much Ado About Nothing,” shot in 12 days at his home in Santa Monica and starring actors he’d worked with on his TV shows, “Buffy the Vampire Slayer,” “Angel,” “Firefly” and “Dollhouse,” as well as on “The Avengers.”

 

Though Mr. Whedon had no idea at the time what he would do with this film (which he and Ms. Cole produced through their Bellwether Pictures company), it will be released theatrically by Lionsgate and Roadside Attractions on June 7.

 

With some distance from the creation of “Much Ado,” Mr. Whedon has a better understanding of why he needed to make it when he did, and how he benefited by taking on another project instead of taking a vacation.

 

As he recalled, Ms. Cole told him: “You need to do this more than you need to travel. It will connect you with what you are, where you are and all of your friends.”

 

“The argument that sealed it,” he added, “was her saying, ‘Look, Venice isn’t sinking that fast.’ ”

 

Dating to at least 2000, Mr. Whedon has recognized his preference for a state of constant motion, back when he was simultaneously producing “Buffy” and its spinoff “Angel,” and inviting cast members to his home for after-hours readings of Shakespeare plays like “Hamlet,” “Macbeth” and “Othello.”

 

Though these impromptu performances were done for fun, “I still had to cast them and make all the cuts and let everybody know what their parts were, plus provide food,” he said. “I was like, ‘Oh, my break from producing is producing.’”

 

For performers like Amy Acker — who by day was playing an investigator of supernatural activity on “Angel,” and by night was portraying Beatrice in “Much Ado” opposite her TV co-star Alexis Denisof — there was the realization that work on one of Mr. Whedon’s series was “not your normal show.”

 

“Everybody’s idea of a fun time,” Ms. Acker said, “was to go over to Joss’s house and he’d assign people parts of a Shakespeare play and you’d drink wine and sit outside.”

 

But the readings helped Mr. Whedon learn about the untapped potential of his actors. After seeing Ms. Acker as Lady Capulet in “Romeo and Juliet,” he decided to kill off her “Angel” character and turn her into a merciless demon. He recalled: “I was like, ‘Oh, I’ve never seen her be frightening. I think the world should see that, too.’ ”

 

But a decade later, Mr. Whedon’s Shakespeare sessions had been on a long hiatus and the director was second-guessing himself as he grappled with “The Avengers.”

 

“There’s a moment in editing on any film,” he said, “where you go, ‘Oh, God, everything’s being taken away from me.’ And it’s very painful.”

 

When she visited him on an “Avengers” shoot in New York, Ms. Cole said she could tell her husband was in a funk, and she was similarly feeling his absence.

 

“When you’re doing a huge movie like that, it wasn’t just nine months of shooting,” she said. “It’s two years that he is disconnected and gone. In that time, I was in Los Angeles, and it was lonely, not having him.”

 

And so, for perhaps the first time in history, a team of superheroes was saved by Shakespeare. Rereading “Much Ado” on the set of “The Avengers,” Mr. Whedon said he was struck by the intertwining tales of Beatrice and Benedick, and Hero and Claudio, as they fall in love and fight and reunite, and reminded of the screwball romances of directors like Billy Wilder and Preston Sturges.

 

“I went, ‘Oh, it’s been staring at me for years,’ ” he said. “‘This is a very dark, very complex deconstruction of a romantic comedy, and I’m so in.”

 

After filming of “The Avengers” finished in September 2011, Mr. Whedon and Ms. Cole began hiring the cast for “Much Ado,” to start filming in a month. They recruited Ms. Acker and Mr. Denisof to return as Beatrice and Benedick; and Fran Kranz (of “Dollhouse” and “The Cabin in the Woods”) and Jillian Morgese (an extra on “The Avengers”) to play Claudio and Hero.

 

And except for Mr. Whedon’s studio superiors on “The Avengers,” the Hollywood film industry was largely kept in the dark.

 

“If we had told anybody about what we were doing,” Ms. Cole said, “there would be a lot of people telling us: ‘It can’t work. It’s not going to happen. This is a crazy idea.’ ”

 

But, she added, “You cut that out, and suddenly you’ve got a product that is exactly how we wanted it to be.”

 

Instead, Mr. Whedon whipped the Internet into a frenzy when he revealed the existence of his “Much Ado” (and the completion of shooting) in late October 2011. The movie has received positive notices on the festival circuit, where The Hollywood Reporter, which reviewed “Much Ado” at the Toronto International Film Festival, wrote that “even viewers not enlisted in Whedon’s Browncoat cult will find much to like here.”

 

Clark Gregg, who plays Agent Coulson in “The Avengers,” said he had not performed much Shakespeare before taking the role of Leonato in “Much Ado.”

 

“It does feel like there’s a kind of Shakespeare mafia, and I was not a made man,” said Mr. Gregg, a founding member of the Atlantic Theater Company. “I feel like they’re going to stop me in the middle of a soliloquy and go, ‘Hey, not you.’ ”

 

But the speed at which “Much Ado” was made did not allow for such self-consciousness, he said: “I walked onto the stage — Joss’s kitchen — for the first scene, and I was holding up an iPhone and I thought, ‘This might be a Shakespearean world I can inhabit.’ ”

 

The rapid pace also left Mr. Whedon little time to worry about crises, as when he and Ms. Cole learned that a house next door was being demolished, just as filming was about to start.

 

“He was like, ‘Kai, I know you can do a lot of things, but you can’t control this,’ ” Ms. Cole recalled. “And I just looked at him and I was like, ‘Yes, I can.’ ” (The neighbors ultimately worked out a system to avoid interfering with each other’s work.)

 

Mr. Whedon found that when he returned to postproduction work on “The Avengers,” he was far less conflicted about cutting down that film, and no longer felt like he was losing control of the project.

 

“I came back from ‘Much Ado’ going, ‘That’s the point,’ ” he said. “ ‘The film is not called “Joss.” It’s called “The Avengers,” and when I’m done editing it, it will still be a film by me.’ ”

 

As he prepares for an “Avengers” sequel (scheduled for a 2015 release), Mr. Whedon could not say whether he’d need another extracurricular activity to help him finish the new movie, or what kinds of projects he’d like to make after his superhero adventures.

 

“People are like, ‘When’s your next Shakespeare?’ ” he said. “The next thing I want to do, like Shakespeare, is something I’ve never done before.”

 

But what he’d learned from both kinds of filmmaking, Mr. Whedon said, is that one is no less real or important than the other, and that “The Avengers” was no less a passion project than “Much Ado About Nothing,”

 

“I would also describe ‘Avengers 2’ as a passion project,” he said. “I don’t take any project for which I have no passion. Why would you do that?”

************

 

http://www.nytimes.com/2013/05/26/movies/joss-whedon-on-his-much-ado-about-nothing.html?ref=daveitzkoff&_r=0

 

[Editor’s Note: As I have previously written, I saw the Joss Whedon Much Ado at the SAA in Toronto and enjoyed it, getting about as many of the “hip” references as anyone over 40 can get. I do plan to take my two daughters and son-in-law to see it again on June 7 when it opens in theaters in the US. Then I will be able to ask them about any others I might have. –Hardy]

 
 
SAA Seminar Registrations to Open July 1

 

The Shakespeare Conference: SHK 24.0263  Monday, 3 June 2013

 

From:        SAA < This e-mail address is being protected from spambots. You need JavaScript enabled to view it >

Date:         Tuesday, May 28, 2013 4:17 PM

Subject:     SAA Seminar Registrations to Open July 1

 

To all SAA Members,

 

As you know, the new SAA year opens on June 1. Usually that means that seminar and workshop registrations open, as well. This message is to alert you that the registration process for our next annual meeting will be delayed this year, till July 1.

 

The delay is occasioned as we renovate the SAA website. Our only window for making substantial revisions to the site is the short period between the close of one annual conference and the start of arrangements for the next one.

 

Thus we will have a shorter registration process than usual, from July 1 till September 15. You can prepare for registration to open by taking advantage of our “advance look” at the program at www.ShakespeareAssociation.org. We hope you will return to the redesigned website on July 1 and will plan to join us in St. Louis on April 12-14, 2014. 

 

Sincerely yours,
Lena Cowen Orlin
Executive Director

 

Shakespeare Association of America 

37th and O Streets NW 

Washington, District of Columbia 20057-1131 

United States 

 
 
EARLY THEATRE 16.1 (2013)

 

The Shakespeare Conference: SHK 24.0262  Tuesday, 28 May 2013

 

From:        Helen Ostovich < This e-mail address is being protected from spambots. You need JavaScript enabled to view it >

Date:         May 27, 2013 9:57:26 PM EDT

Subject:     EARLY THEATRE 16.1 (2013)

 

Early Theatre 16.1 is forthcoming in June 2013.  The journal is printed on paper and almost simultaneously online for subscribers.  New subscribers are always welcome.  See our website for information: 

 http://digitalcommons.mcmaster.ca/earlytheatre/

 

 

Articles

 

The Will of Simon Jewell and the Queen’s Men Tours in 1592

     Chiaki Hanabusa 

 

‘This place was made for pleasure not for death’: Performativity,

Language, and Action in The Spanish Tragedy

     Alexandra S. Ferretti 

 

Shared Borders: The Puppet in Ben Jonson’s Bartholomew Fair

     Kristina E. Caton 

 

‘Bound up and clasped together’: Bookbinding as Metaphor for

Marriage in Richard Brome’s The Love-Sick Court

     Eleanor Lowe 

 

Accidents Happen: Roger Barnes’s 1612 Edition of Marlowe’s Edward II

     Mathew R. Martin 

 

Old Testament Adaptation in The Stonyhurst Pageants

     J. Case Tompkins 

 

Note

Hornpipes and Disordered Dancing in The Late Lancashire

Witches: A Reel Crux?

     Brett D. Hirsch 

 

Review Essay

Defining Tudor Drama

     Kent Cartwright

 

Book Reviews

John H. Astington. Actors and Acting in Shakespeare’s Time:

The Art of Stage Playing. Cambridge: Cambridge University

Press, 2010.

Reviewed by Eleanor Lowe 

 

Janette Dillon. Shakespeare and the Staging of English History.

Oxford: Oxford University Press, 2011.

Reviewed by Patrick J. Murray 

 

Christina M. Fitzgerald and John T. Sebastian (gen eds). The

Broadview Anthology of Medieval Drama. Peterborough, ON:

Broadview, 2013.

Reviewed by Chester N. Scoville 

 

Charles R. Forker (ed.). The Troublesome Reign of John, King of

England. Manchester: Manchester University Press, 2011.

Reviewed by Karen Oberer 

 

Katherine R. Larson. Early Modern Women in Conversation.

Houndmills: Palgrave Macmillan, 2011.

Reviewed by Sarah Johnson 

 

Christopher Marsh. Music and Society in Early Modern England.

Cambridge: Cambridge University Press, 2010.

Reviewed by Katherine Hunt 

 

Kathryn M. Moncrief and Kathryn R. McPherson (eds). Performing

Pedagogy in Early Modern England: Gender, Instruction, and

Performance. Aldershot: Ashgate, 2011.

Reviewed by Yvonne Bruce 

 

Helen Smith. Grossly Material Things: Women and Book Production

in Early Modern England. Oxford: Oxford University Press, 2012.

Reviewed by Christina Luckyj 

 

Ayanna Thompson. Passing Strange: Shakespeare, Race and

Contemporary America. Oxford: Oxford University Press, 2011.

Reviewed by Jami Rogers 

 

Alden T. & Virginia Mason Vaughan. Shakespeare in America.

Oxford: Oxford University Press, 2012.

Reviewed by Alan Andrews 

 

Martin Wiggins, in association with Catherine Richardson. British

Drama 1533–1642: A Catalogue. Volume I: 1533–1566. Oxford:

Oxford University Press, 2012.

Reviewed by Peter Happé

 

Dr H M Ostovich  < This e-mail address is being protected from spambots. You need JavaScript enabled to view it >

Editor, Early Theatre <http://digitalcommons.mcmaster.ca/earlytheatre/>

Professor, English and Cultural Studies

McMaster University

 
 
CFP: Société française Shakespeare: Shakespeare in French Film / France in Shakespeare Film

 

The Shakespeare Conference: SHK 24.0259  Monday, 27 May 2013

 

From:        Douglas Lanier < This e-mail address is being protected from spambots. You need JavaScript enabled to view it >

Date:         May 25, 2013 4:14:01 PM EDT

Subject:     CFP: Société française Shakespeare: Shakespeare in French Film / France in Shakespeare Film

 

Société française Shakespeare Conference on “Shakespeare 450,” Paris, 21-27 April 2014

Leaders: Melissa Croteau and Douglas Lanier

 

Seminar 15: Shakespeare in French Film/France in Shakespearean Film

 

This seminar will explore the many ways in which Shakespeare’s work has influenced French cinema and has been adapted to the screen in France, from the silent era to the present, including offshoots and films which use Shakespeare’s works as significant intertexts, from Les enfants du paradis (Marcel Carné, 1945) to L'Appartement (Gilles Mimouni, 1996). Conversely, the seminar also will invite papers that consider how the nation, people, and culture of France have been depicted in Shakespearean films. The term Shakespearean films here includes all kinds of cinematic and television adaptations of the plays as well as offshoots (or spinoffs) that use the Bard’s work for sundry purposes and agendas.

 

This subject invites reflection on the traditions and methods of “reading” and presenting Shakespeare in France. For instance, one might examine Sarah Bernhardt’s famed stage performance in the role of Hamlet in 1899 and the filming of Bernhardt’s Hamlet-Laertes duel scene in 1900, reputedly the first time any part of Hamlet was recorded for the screen. The relationship between French Shakespearean stage actors, like Bernhardt, and their non-Shakespeare on-screen roles could be explored. More recently, the casting of Sophie Marceau in Hoffman’s A Midsummer Night’s Dream (1999) or the cameo appearance of Gérard Depardieu in Branagh’s Hamlet might warrant analysis of how the French identity of actors is used in English-language adaptations. In addition, the many cinematic adaptations of Henry V offer fertile ground for investigating how the French are represented in Shakespeare’s work and are then translated into film at pivotal historical moments, such as Sir Laurence Olivier’s Henry V, which was filmed during World War II and features a mise-en-scène derived self-consciously from the Duc de Berry’s medieval Book of Hours. Or one might explore how explicitly French settings in some of Shakespeare plays—Love’s Labour’s Lost and All’s Well That Ends Well in particular—have been handled in screen adaptations. Furthermore, one could examine the reception of cinematic Shakespeare in France, as Sarah Hatchuel has done with Kenneth Branagh’s work. The place of Shakespeare in French cinema and the place of France in Shakespearean cinema also has been investigated in the work of Nathalie Vienne-Guerrin and Patricia Dorval, who have been pioneering a website that catalogues and analyzes Shakespearean allusions in French film. Last but not least, one might examine the kinds of cultural work done by Shakespeare references, explicit and implicit, in particular French films, in certain film genres in France, at certain periods in French cinema, or in the oeuvre of a French director. To what audiences are such references directed? How are such references understood within a French cultural context? How do such references (re)conceptualize the nature and influence of Shakespeare’s work? To what extent can one speak of a distinctively French approach to adapting Shakespeare to the screen? 

 

We are planning to edit a collection of essays from the submitted papers, so we are especially interested in contributions that seminar members wish to develop for publication.

 

Seminar Structure: This seminar will include up to twenty members, and seminar papers should be 3,000 to 4,000 words in length. Members will read all the seminar papers but will respond in detail via email to three other papers before the seminar meets.

 

Submissions should be sent by email to  This e-mail address is being protected from spambots. You need JavaScript enabled to view it AND This e-mail address is being protected from spambots. You need JavaScript enabled to view it .

 

Please include the following with your proposal:

 

• the full title of your paper;

• a 250-400 word description of your paper;

• your name, postal address and e-mail address;

• your institutional affiliation and position;

• a short bionote;

• AV requirements (if any). 

 

Deadline for proposals: 10 August 2013

Notification of acceptance: 30 August 2013

 
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