Call For Journal Articles For Special Edition Of Shakespeare
The Shakespeare Conference: SHK 24.0063 Thursday, 14 February 2013
From: Abigail Rokison <
Date: February 14, 2013 9:39:39 AM EST
Subject: Call for Journal Articles
Call For Journal Articles For Special Edition Of Shakespeare
We invite submission of journal articles of between 5 and 10,000 words for a special edition of Shakespeare journal (Routledge) entitled ‘Shakespeare, performance and authenticity’.
Please send expressions of interest and abstracts to Abigail Rokison –
by March 30th 2013.
The deadline for finished articles will be August 2013 for publication in March 2014.
Announcement: European Shakespeare Research Association Congress
The Shakespeare Conference: SHK 24.0058 Tuesday, 12 February 2013
From: Jean-Christophe Mayer <
Date: February 12, 2013 6:33:19 AM EST
Subject: Announcement: European Shakespeare Research Association Congress
European Shakespeare Research Association Congress
Shakespeare & Myth
hosted by the Institut de Recherche sur la Renaissance,
l'âge Classique et les Lumières (IRCL)
in partnership with the Printemps des Comédiens (Montpellier)
under the auspices of the Société Française Shakespeare
Wednesday 26–Saturday 29 June 2013
Agenda and deadlines
3 March 2013: Deadline for EARLY registration
1 April 2013: Deadline for sending contributions to seminar leaders
3 June 2013: Deadline for pre-registration
Programme and venues
Discover ESRA 2013 in Montpellier: 12 plenary speakers, 14 seminars, a theatre workshop, Claus Peyman’s Richard II for the Berliner Ensemble, a “Shakespeare under the stars” Film Marathon, and more . . .
Download the preliminary programme and details of venues here: <https://dl.dropbox.com/u/66244838/esra2013_programme_eng.pdf>
Registration and funding
Early registration: 70 euros (35 euros for accompanying persons and/or members of the Société Française Shakespeare: http://www.societefrancaiseshakespeare.org/)
Regular registration: 80 euros (40 euros for accompanying persons and/or members of the Société Française Shakespeare: http://www.societefrancaiseshakespeare.org/).
Registration fees include conference pack, entrance to all lectures and seminars, coffee breaks, publishers’ area, free Wifi zone.
Registration fees do not include the following:
- opening dinner (28 euros),
- open-air buffet and film marathon “Shakespeare under the stars” (22 euros)
- theatre tickets (11 euros)
To register online
Congress registration => click on French or English flag => choose ESRA 2013 in the list of conferences. Click on pre-registration and enter requested details (*) plus other relevant details. For “Tarification” (ie fees): choose “Academic”, “Accompanying Person” or “Member SFS” (if a member of the Société Française Shakespeare).
Allow a few days for us to check any necessary details.
Once your pre-registration has been accepted, you will receive confirmation to proceed to online registration and payment by credit card.
See contact provided below if you have any difficulties.
Duration of the conference
Participants will be able to sign in and collect their packs on Wednesday 26 June 2013 from 10 am to 4pm.
The conference will open on Wednesday 26 June 2013 at 2pm and close on Saturday 29 June at 5.30pm. A cultural event may be proposed on Saturday evening.
The conference venues are located in the city centre, in University premises (Saint-Charles Campus) on place Albert 1er and just off boulevard Henri IV (Faculté de médecine), 400 yards away (easy access by tram and on foot). Please note that the opening afternoon and evening will be in a third, different venue (see maps at the end of the programme).
Montpellier offers hotels in all categories. Delegates are invited to make their own arrangements. Information about accommodation may be accessed at:
Please note: Conference delegates who have finalised their registration and are contemplating to book at the 4-star hotel Jardin des sens (Relais et Châteaux) may enjoy a discount on some rooms. Please contact our conference manager directly for details.
Conference Manager: Vanessa Kuhner-Blaha
The Shakespeare Conference: SHK 24.0054 Monday, 11 February 2013
From: Michael Boecherer <
Date: February 11, 2013 9:57:52 AM EST
Subject: CFP: This Rough Magic
This Rough Magic (www.thisroughmagic.org) is a journal dedicated to the art of teaching Medieval and Renaissance Literature. We are seeking academic, teachable articles that focus on, but are not limited to, the following categories:
Philosophy and Rhetoric
We also seek short essays that encourage faculty to try overlooked, non-traditional texts inside the classroom and book reviews. Submission deadline for our Summer 2013 issue is currently 5/21/13.
For more information, please visit our website www.thisroughmagic.org or contact Michael Boecherer:
Faculty and Graduate Students are encouraged to submit.
This Rough Magic’s editorial board members are affiliated with the following academic institutions and organizations:
The American Shakespeare Center
Bridgewater State University
California State University, San Bernardino
The Catholic University of America
Fitchburg State University
State University of New York - Stony Brook
Suffolk County Community College
University of Connecticut
Assistant Professor of English
Suffolk County Community College
The Shakespeare Conference: SHK 24.0049 Thursday, 7 February 2013
From: Gabriel Egan <
Date: February 7, 2013 7:54:19 AM EST
Subject: KiSS Conference
This is to announce the Kingston Shakespeare Seminar (KiSS). It’s a new seminar series open to the public as well as staff and students. The seminars will be held at the Rose Theatre, in Kingston-upon-Thames, south-west London, from 5.30 to 7pm on the following dates:
* Thursday 7 February 2013: Dominique Goy-Blanquet (University of Picardy; current President of the Shakespeare Association of France): ‘Henry VIII and The Maid’s Wedding: Ghostly Revels’
* Wednesday 20 February 2013: Tobias Doring (Ludwig-Maximilian University Munich; current President of the German Shakespeare Association): ‘Shakespeare’s Afterlife: Contemporary German poetry and the problem of poetic creativity’
* Thursday 7 March 2013: Ewan Fernie (Shakespeare Institute, University of Birmingham): ‘Garrick and the German Enlightenment’
* Wednesday 20 March 2013: Coppelia Kahn (Brown University): ‘Reading the Face in “Hamlet”’
* Thursday 11 April 2013: David Skilton (Cardiff University): ‘The Novelist’s Voice: Shakespearean Intertext in Thackeray and Trollope’
Actors From The London Stage - Elsinore and Beyond!
The Shakespeare Conference: SHK 24.0045 Tuesday, 5 February 2013
From: Actors From The London Stage <
Date: February 5, 2013 1:22:21 PM EST
Subject: Actors From The London Stage - Elsinore and Beyond!
Hamlet Tour Off to a Rousing Start!
Notre Dame –
Hamlet will be performed at the historic Washington Hall on the campus of the University of Notre Dame, February 13 & 14, 2013 at 7:30 PM. These performances are part of a national tour for this production that began last week at Texas A & M University, continues this week at Valparaiso University, and ends at Vanderbilt University. A special homecoming performance will be presented at the Fortune Theatre once the actors return to London.
Members of the ensemble include tour veteran Terry Wilton (Polonius, Marcellus, 1st Gravedigger, Priest, Osric), Charles Armstrong (Claudius, Ghost, 1st Player, Francisco, Reynaldo), Andrew Fallaize (Horatio, Laertes, Rosencrantz, Guildenstern, 3rd Player), Shuna Snow (Gertrude, Ophelia, 2nd Player, Sailor) and Pete Ashmore (Hamlet, Bernardo, Fortinbras).
Performances are Wednesday, February 13, and Thursday, February 14, 2013. All performances are at 7:30 PM Eastern Daylight Time. Washington Hall is located on the campus of the University of Notre Dame. Tickets may be purchased at the DeBartolo Performing Arts Center ticket office, by phone at 574-631-2800, or online at shakespeare.nd.edu.
SonnetFest 2013 to be live-streamed on the web!
Celebrate Valentine’s Day with the 4th annual SonnetFest – a community-wide public reading of Shakespeare’s 154 sonnets as interpreted by members of the Notre Dame and Michiana communities. The event will be live-streamed online for the first time this year at www.shakespeare.nd.edu. “Over the past three years the event has proven to be so popular that we are continuing our annual tradition where faculty, staff, students and members of our community can gather together and bring Shakespeare’s beautiful ruminations on love to life,” according to Scott Jackson, Executive Director of Shakespeare of Notre Dame.
All 154 of William Shakespeare’s sonnets will be read sequentially in the Great Hall of O’Shaughnessy Hall on the campus of the University of Notre Dame from 11 am- 3 pm Eastern Time on Thursday, February 14, 2013.
Hamlet returns to the Fortune!
Actors From The London Stage presents
by William Shakespeare
Monday, March 11th at 7:30
Russell St, Covent Garden, London WC2B 5HH
Tube - Covent Garden
Reservations can be made by emailing:
Please email to reserve tickets stating: Your name, Your email address, Number of tickets required, Your contact number.
Confirmation of your booking will be emailed to you, plus method of payment.
Please note that tickets can not be bought in advance via the Fortune Theare box office.
All roles played by Charles Armstrong, Pete Ashmore, Andrew Fallaize, Shuna Snow, Terry Wilton
Book Announcement: New Readings of the Merchant of Venice
The Shakespeare Conference: SHK 24.0044 Tuesday, 5 February 2013
From: Horacio Sierra <
Date: February 5, 2013 9:43:12 AM EST
Subject: Book Announcement
I am pleased to announce the publication of my edited collection, New Readings of the Merchant of Venice, from Cambridge Scholars Publishing. ISBN: 1443841765.
The last decade has witnessed a spate of high-profile presentations of The Merchant of Venice: the 2004 Michael Radford film, 2010’s New York City “Shakespeare in the Park” production, as well as the play’s Tony Award-nominated 2010-11 Broadway run. Likewise, new scholarly works such as Kenneth Gross’s Shylock is Shakespeare (2006) and Janet Adelman’s Blood Relations (2008) have offered poignant insights into this play. Why has this drama garnered so much attention of late? What else can we learn from this contentious comedy? How else can we read the drama’s characters? Where do studies of The Merchant of Venice go from here?
This collection offers readers sundry answers to these questions by showcasing a sampling of ways this culturally arresting play can be read and interpreted. The strength of this monograph lies in the disparate approaches its contributors offer – from a feminist view of Portia and Nerissa’s friendship to psychoanalytic readings of allegories between the play and Shakespeare’s Pericles to a reading of a Manga comic book version of The Merchant of Venice. Each essay is supported by a strong basis in traditional close reading practices. Our collection of scholars then buttresses such work with the theoretical or pedagogical frameworks that reflect their area of expertise. This collection offers readers different critical lenses through which to approach the primary text.
Amazon link: http://www.amazon.com/Readings-Merchant-Venice-Horacio-Sierra/dp/1443841765/ref=sr_1_1?s=books&ie=UTF8&qid=1359464098&sr=1-1&keywords=new+reading+of+the+merchant+of+venice
Cambridge Scholars Publishing link: http://www.c-s-p.org/Flyers/New-Readings-of-The-Merchant-of-Venice1-4438-4176-5.htm
Assistant Professor of English
Bowie State University
CFP 2013 Blackfriars Conference
The Shakespeare Conference: SHK 24.0042 Monday, 4 February 2013
From: Sarah Enloe <
Date: Friday, February 1, 2013 3:15 PM
Subject: CFP 2013 Blackfriars Conference
Seventh Blackfriars Conference: 23 - 27 October 2013
On odd numbered years since the first October the Blackfriars Playhouse opened, scholars from around the world have gathered in Staunton, during the height of the Shenandoah Valley’s famed Fall colors, to hear lectures, see plays, and learn about early modern theatre. In 2013, the American Shakespeare Center’s Education and Research Department will once again host Shakespeareans, scholars and practitioners alike, to explore Shakespeare in the study and Shakespeare on the stage and to find ways that these two worlds – sometime in collision – can collaborate. Past conferences have included such notable scholars as Andrew Gurr, the “godfather” of the Blackfriars Playhouse, Tiffany Stern, Russ McDonald, Gary Taylor, Stephen Greenblatt, Roz Knutson, Tina Packer, Scott Kaiser, Stephen Booth, George T. Wright, and many more in five days full of activities.
Except for banquets, all events – papers, plays, workshops, – take place in the world’s only re-creation of Shakespeare’s indoor theatre, the Blackfriars Playhouse. This conference distinguishes itself from saner conferences in a variety of other ways. First, to model the kind of collaboration we think possible we encourage presenters to feature actors as partners in the demonstration of their theses. For instance, in 2009, Gary Taylor’s keynote presentation “Lyrical Middleton” featured ASC actors singing and dancing to the songs in Middleton’s plays. Second, we limit each paper session to six short papers (10 minutes for solo presentations, 13 minutes for presentations with actors). Third, we enforce this rule by ursine fiat – a bear chases from the stage those speakers who go over their allotted time.
Delegates also attend all of the plays in the ASC 2013 Fall Season – Romeo and Juliet, All’s Well that Ends Well, Troilus and Cressida, Oliver Goldsmith’s She Stoops to Conquer, and Bob Carlton’s Return to the Forbidden Planet, – and, for the past several conferences, bonus plays written by their colleagues and performed by actors in the Mary Baldwin College MFA in Shakespeare in Performance program. The spirit of fun that imbues the conference manifests itself in the annual Truancy Award, for the sensible conferee who – visiting the Shenandoah Valley at the height of Fall – has the good sense to miss the most sessions.
The 2013 gathering will honor George Walton Williams IV and will include keynote addresses from Russ McDonald, Ann Thompson, Peter Holland, and Abigail Rokison.
ASC Education and Research extends this call for papers on any matters to do with the performance of early modern drama (historical, architectural, political, dramatical, sartorial, medical, linguistical, comical, pastoral) to all interested parties for our biennial conference to be held at the Blackfriars Playhouse in Staunton, Virginia, 23-27 October 2013. The deadline to submit your abstract is 31 May 2013.
Submit an Abstract for consideration; Deadline: May 31st, 2013.
or, for more information, please email Sarah Enloe, Director of Education, at
American Shakespeare Center
Director of Education
The American Shakespeare Center recovers the joy and accessibility of Shakespeare’s theatre, language, and humanity by exploring the English Renaissance stage and its practices through performance and education.
Book Notice: Who Hears in Shakespeare?
The Shakespeare Conference: SHK 24.0034 Wednesday, 30 January 2013
From: Walter Cannon <
Date: January 29, 2013 9:14:30 PM EST
Subject: Book Notice: Who Hears in Shakespeare?
Laury Magnus and I have recently published Who Hears in Shakespeare? Auditory Worlds on Stage and Screen. Our publisher, Roman and Littlefield, is making it available to SHAKSPER subscribers at a discount price, available at the Rowman and Littlefield website listed below.
Just as a very small biographical note, Michael Shurgot, Yu Jim Ko, and I were all in the very first NEH summer seminar that Ralph Cohen offered at James Madison. And Laury was in the next one, if my sequence is right. It might be interesting (to Ralph for sure) to tally the number of books that have been inspired by things that Ralph put in motion—we have dedicated our volume to him.
Who Hears in Shakespeare? Auditory Worlds on Stage and Screen.
Edited by Laury Magnus and Walter W. Cannon.
Fairleigh Dickinson University Press, 2012.
This volume, examining the ways in which Shakespeare’s plays are designed for hearers as well as spectators, has been prompted by recent explorations of the auditory dimension of early modern drama by scholars such as Andrew Gurr, Bruce Smith, and James Hirsh. To look at the acoustic world of the plays involves a real paradigm shift that changes how we understand virtually everything about Shakespeare’s plays: from the architecture of the buildings, to playing spaces, to blocking, and to larger interpretative issues, including our understanding of character based on players’ responses to what they hear, mishear, or refuse to hear. Who Hears in Shakespeare? Auditory Worlds on Stage and Screen is comprised of three sections on Shakespeare’s texts and performance history: “The Poetics of Hearing and the Early Modern Stage”; “Metahearing: Hearing, Knowing, and Audiences, Onstage and Off”; and a final section entitled “Transhearing: Hearing, Whispering, Overhearing, and Eavesdropping in Film and other Media.”
Chapters by noted scholars explore the complex reactions and interactions of onstage and offstage audiences and show how Shakespearean stagecraft, actualized both on stage and/or adapted on screen, revolves around various situations and conventions of hearing, such as soliloquies, asides, eavesdropping, overhearing, and stage whispers. In short, Who Hears in Shakespeare? enunciates Shakespeare’s nuanced, powerful stagecraft of hearing. The volume ends with Stephen Booth’s Afterword, a meditation on hearing in Shakespeare that returns us to consider Shakespearean “audiences” and their responses to what they hear—or don’t hear—in Shakespeare’s plays.
Bernice W. Kliman
Kathleen Kalpin Smith
About the Editors:
Laury Magnus is Professor of Humanities at the US Merchant Marine Academy in Kings Point, NY.
Walter W. Cannon is Professor of English at Central College in Pella, Iowa.
Fairleigh Dickinson University Press, 2012
Save 20% with Promo Code LEX20SEP11*
Rowman & Littlefield Publishing Group
Bucknell University Press ∙ Fairleigh Dickinson University Press
Lehigh University Press ∙ University of Delaware Press
All orders from individuals must be prepaid / prices are subject to change without notice / Billing in US dollars / Please make checks payable to Rowman & Littlefield Publishing Group
Rowman & Littlefield, 15200 NBN Way,
PO Box 191
Blue Ridge Summit, PA 17214-0191
Who Hears in Shakespeare? Auditory Worlds on Stage and Screen
Who Hears in Shakespeare? Auditory Worlds on Stage and Screen
BritGrad 2013 Conference Registration
The Shakespeare Conference: SHK 24.0031 Monday, 28 January 2013
From: British Graduate Shakespeare C <
Date: January 28, 2013 4:03:10 AM EST
Subject: BritGrad 2013 Conference Registration
Registration is now open for the Fifteenth Annual British Graduate Shakespeare Conference, June 6-8 2013. We welcome abstracts from graduate students on any topic in the field of Shakespeare and Renaissance Studies. Undergraduate students in their final two years of study are also invited to attend the conference as auditors.
BritGrad is run by students for students, and it provides a friendly and stimulating academic forum in which graduate students from all over the world can present their research and meet together in an active centre of Shakespeare scholarship. The setting for this exciting conference is the University of Birmingham’s Shakespeare Institute, in the heart of Shakespeare’s home town of Stratford-upon-Avon. This provides a uniquely located campus base from which to visit the Royal Shakespeare Company, Shakespeare’s Birthplace and historical properties, and the specialised research libraries of the Shakespeare Institute and the Shakespeare Centre archives.
This year’s conference will feature talks by Martin Wiggins (The Shakespeare Institute) and Catherine Richardson (University of Kent), Jonathan Slinger (Royal Shakespeare Company), and Mairi Macdonald (Shakespeare Birthplace Trust), among other plenary speakers. Delegates also have the opportunity to attend the Royal Shakespeare Company’s production of Hamlet, directed by David Farr and starring Jonathan Slinger, at a group-booking price on the 6 June evening. Lunch will be provided on each day, and there will also be a dance and a drinks reception for the delegates.
We invite abstracts of approximately 200 words for papers twenty minutes in length (3,000 words or less) on subjects relating to Shakespeare and/or Renaissance studies. Delegates wishing to give papers must register by Friday 25 April; auditors must register by Thursday 23 May.
Online registration is now open here: http://britgrad.wordpress.com/registration .
A copy of the registration form is also attached to this email, and is downloadable as well from http://britgrad.files.wordpress.com/2012/01/britgrad-registration-2013.pdf .
Please see the attached Call for Papers for further information. A printable poster is also attached, for university departmental contacts to display at their institutions. Due to the growing success of this annual conference, we strongly encourage early registration to ensure a place on the conference programme.
We look forward to seeing you at another successful conference.
All the best,
The BritGrad Committee
The Fifteenth Annual British Graduate Shakespeare Conference
6-8 June 2013
The Shakespeare Institute
Mason Croft, Church Street
BritGrad 2013 Poster: BritGrad Poster 2013
BritGrad 2013 CFP: BritGrad 2013 CFP
BritGrad 2013 Registration: BritGrad 2013 Registration
A Special Evening with Julie Taymor
The Shakespeare Conference: SHK 24.0025 Sunday, 27 January 2013
From: John F Andrews <
Date: January 23, 2013 12:17:01 PM EST
Subject: A Special Evening with Julie Taymor
A Special Evening with Julie Taymor
Monday, January 28, at 6:00 p.m., $15
Michael Schimmel Center for the Arts
3 Spruce Street in Lower Manhattan
Call 866-811-4111 or 212-346-1715
Best known for The Lion King, which opened on Broadway in 1997 and has now become a global phenomenon, JULIE TAYMOR is the recipient of dozens of prestigious honors, among them two Tony Awards for that show alone. She is renowned not only for her unique approach to drama (most recently as director and writer of the book for another hit musical, Spider-Man: Turn Off the Dark) but for her achievements in cinema and opera, among them an acclaimed Magic Flute at the Met. Outgrowths of her pioneering early work with Theatre for a New Audience include riveting film adaptations of Titus Andronicus (starring Anthony Hopkins and Jessica Lange) and The Tempest (with Helen Mirren as Prospera). Ms. Taymor has also garnered two Academy Awards and six Oscar nominations for Frida, a feature she directed with Salma Hayek in the title role. She’ll discuss her remarkable career with the Shakespeare Guild’s John Andrews and Pace University’s Cosmin Chivu in a “Masters Series” setting that will be familiar to TV audiences who enjoy Inside the Actors Studio.
For more information about The Shakespeare Guild, and for details about upcoming attractions (among them a February 25 program about Words from the White House with lexicographer Paul Dickson at the National Arts Club, and a May 23 gathering at The Players with painter Everett Raymond Kinstler, whose portrayals of stars like Tony Bennett, Katharine Hepburn, and Tom Wolfe have led admirers to compare him with the legendary John Singer Sargent), visit www.shakesguild.org