Oregon Shakespeare Festival Archive


The Shakespeare Conference: SHK 24.0266  Tuesday, 4 June 2013


From:        Mike Jensen <This email 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




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:


Amy E. Richard

Media & Communications Manager

Oregon Shakespeare Festival

541-482-2111, ext. 240


New York Times Article on Ado

The Shakespeare Conference: SHK 24.0264  Monday, 3 June 2013

From:        Hardy Cook <This email 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.


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?”



[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 email 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 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 email 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:





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 



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

Editor, Early Theatre <>

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

The Luminary Folger Shakespeare


The Shakespeare Conference: SHK 24.0255  Friday, 24 May 2013


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

Date:         May 24, 2013 2:08:18 PM EDT

Subject:     The Luminary Folger Shakespeare



Contact: Julia Prosser, 212-698-7529; This email address is being protected from spambots. You need JavaScript enabled to view it.


Simon & Schuster and Folger Shakespeare Library Team with Luminary Digital Media to Create Interactive Shakespeare Apps


New York, NY, May 23, 2013 — Simon & Schuster and Folger Shakespeare Library announced today that they are working with Luminary Digital Media to create an interactive app using the renowned Folger Editions, the leading Shakespeare texts used in secondary schools in the United States. The Luminary Folger Shakespeare, which will be built on Luminary’s social reading platform for mobile devices, will use the Folger Shakespeare Editions text, supplemented with newly commissioned audio performances produced at the Folger Theatre, expert commentaries from the world’s leading Shakespeare scholars and teachers, image galleries, video performances and interviews, audio recordings, classroom resources, and learning modules.


The app will have unique social reading, private network and content-creation tools that allow readers to customize their own experience and connect instantly with friends, classmates, and colleagues worldwide. The Luminary Folger Shakespeare will transform how Shakespeare is read, learned and taught for the 21st century.


The first apps will publish in November 2013 and will include Hamlet, Othello, Macbeth, Romeo & Juliet, and A Midsummer Night’s Dream.  The remaining plays will be released on a regular basis until the entire collection is complete.


“The Luminary platform is the perfect digital environment in which to engage with the richness of Shakespeare's works. In addition to immersing readers in the riches of the Folger Editions and Folger Theatre, it also allows students, teachers, and the reading public to share their ideas about the plays, making Shakespeare's works accessible in an entirely new way,” said Michael Witmore, Director of the Folger Shakespeare Library.


“The Folger Editions have long been the gold standard for reading Shakespeare both at home and in the classroom, and we couldn’t be prouder of our partnership and our joint efforts to bring this vital series into the digital age,” said Simon & Schuster President and Publisher Jonathan Karp. “These new apps will tap Folger’s expert scholarship, the ability of digital media to make Shakespeare come alive, and the growing phenomenon of social reading to create a world class Shakespeare experience for the mobile reading audience. We’re confident that Folger Editions will, in this new digital format, prove attractive and informative to an entirely new generation of readers.”


“At Luminary, we are delighted to work with two world-class partners like the Folger Shakespeare Library and Simon & Schuster to create the next generation of Shakespeare for all readers,” said Elliott Visconsi, principal and co-founder of Luminary Digital Media.


The Folger Shakespeare Library is a world-renowned center for scholarship, learning, culture, and the arts. Home to the world’s largest Shakespeare collection and a primary repository for rare materials from the early modern period (1500–1750), the Folger is an internationally recognized research library; an innovator in the preservation of rare materials; a national leader in how Shakespeare is taught in grades K–12; and an award-winning producer of cultural and arts programs. For more information, visit the website at


Simon & Schuster, a part of CBS Corporation, is a global leader in the field of general interest publishing, dedicated to providing the best in fiction and nonfiction for consumers of all ages, across all printed, electronic, and audio formats. Its divisions include Simon & Schuster Adult Publishing, Simon & Schuster Children’s Publishing, Simon & Schuster Audio, Simon & Schuster Digital, and international companies in Australia, Canada, India and the United Kingdom. For more information, visit our website at


Luminary Digital Media is a mobile software company founded by two professors—Elliott Visconsi of the University of Notre Dame and Katherine Rowe of Bryn Mawr College. Based in South Bend, Indiana and incubated at the University of Notre Dame, Luminary builds mobile learning experiences around humanities content for trade authors, schools, and cultural institutions, combining outstanding expert content with social networks, broadcasting channels, and collaboration tools. Luminary’s first offering The Tempest for iPad was launched in April 2012, and has users in 25 countries worldwide. Luminary has been featured in leading venues such as FastCompany, The Atlantic, PBS MediaShift , and elsewhere. Luminary experts come from a worldwide network of colleges and universities, including Notre Dame, Bryn Mawr, Yale, Harvard, Indiana, Villanova, Delaware, UCLA, UC Davis, UC Irvine, Cambridge, York, Penn, Princeton, George Washington, Pittsburgh, King’s College London, USC, Virginia, National University of Singapore, Northwestern, and New Hampshire. Visit .


Katherine Rowe, Professor of English

Director, Tricollege Digital Humanities Consortium

Director, Katharine Houghton Hepburn Center

Bryn Mawr College


University of Notre Dame’s Shakespeare in Prisons Conference


The Shakespeare Conference: SHK 24.0254  Friday, 24 May 2013


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

Date:         May 22, 2013 4:49:41 PM EDT

Subject:     University of Notre Dame’s Shakespeare in Prisons Conference 






15-16 NOVEMBER 2013


Shakespeare at Notre Dame is pleased to announce the Shakespeare in Prisons Conference hosted by the University of Notre Dame on Friday, November 15, and Saturday, November 16, 2013.  


Featuring keynote addresses and film screenings by Curt Tofteland (founding director of Shakespeare Behind Bars) and Tom Magill (founder of the Educational Shakespeare Center and director of the Irish film Mickey B), the conference aims to bring together artists and educators engaged in transformational arts programs using Shakespeare in prisons across the USA (and the world) for an exploration and study of the effects such programming has on prison populations.  The goal is to promote a collaborative learning forum where participants will be exposed to a diverse array of programs that all strive for a common result: the habilitation of the inmate’s mind, heart, body, and spirit.


Departing from the traditional academic conference structure, the Shakespeare in Prisons conference will focus on the craft and experiences of the practitioner—while allowing ample time for one-on-one networking and collaboration.  


In addition to the keynotes and film screenings (and Q&A’s), attendees are invited to participate in workshops that explore innovative methodologies, as well as panel discussions that are designed to stimulate discussion about practitioner experiences and best practices within the industrial prison complex.


Registration is $25 and includes a dinner/reception on Friday night, lunch and dinner on Saturday, and admission to all workshops and film screenings. Online registration begins on Monday, June 10 via


More information regarding the conference schedule, lodging information, and the availability of a limited number of bursaries to help with attendee expenses will be made available on June 10.  In the meantime, please contact Scott Jackson at This email address is being protected from spambots. You need JavaScript enabled to view it.">This email address is being protected from spambots. You need JavaScript enabled to view it. for further information.


We hope that you will join us for this unique gathering of like-minded individuals.


All the very best—


Scott Jackson 

Executive Director

Shakespeare at Notre Dame


Peter Holland 

McMeel Family Chair in Shakespeare Studies

University of Notre Dame


Curt Tofteland

Founding Director

Shakespeare Behind Bars




About the speakers and host:


Curt L. Tofteland is the founder of the internationally acclaimed Shakespeare Behind Bars (SBB) program.  SBB has twelve programs in Kentucky and Michigan.  He currently facilitates the adult Shakespeare Behind Bars/Michigan program at the Earnest C. Brooks Correctional Facility in Muskegon Heights and SBB’s first co-gender, court-ordered, juvenile Shakespeare Behind/Beyond Bars programs at the Ottawa County Juvenile Detention Center and the Juvenile Justice Institute.  From 1995-2008, he facilitated the SBB/KY program at the Luther Luckett Correctional Complex, producing and directing fourteen Shakespeare productions.  His 2003 SBB/KY production of The Tempest was chronicled by Philomath Films, producing the documentary Shakespeare Behind Bars, which premiered at the 2005 Sundance Film Festival and went on to be screened at 40+ film festivals worldwide, winning eleven awards.  He is a national and international speaker, having lectured at over forty colleges and universities across the United States and at TEDx Berkeley, TEDxEast (NYC), and TEDx Macatowa.  For his work as a Prison Arts Practitioner he was awarded fellowships from the Fulbright and Petra Foundations, as well as a Doctorate of Humane Letters from Bellarmine University.  He is a founding member and past president of the Shakespeare Theatre Association, an international service organization for theatres that produce the works of William Shakespeare.  He is a published essayist and poet, currently authoring the book, Behind the Bard-Wire: Reflection, Responsibility, Redemption, & Forgiveness…The Transformative Power of Art, Theatre, and Shakespeare.  From 1989-2008, he served as producing artistic director of the Kentucky Shakespeare Festival, producing fifty Shakespeare productions, directing twenty-five, and acting in eight.


A trailer for Shakespeare Behind Bars can be viewed at


More information on Curt’s work can be found at


Tom Magill is an ex-prisoner who transformed his life through arts education while in prison for violence.  While incarcerated he met his enemy—and his enemy became his teacher.  On release he earned a B.A. (Hons) in Drama and Theatre Studies at the University of Birmingham and an M.A. in Cultural Studies at the University of Leeds.  He is an award-winning filmmaker, drama facilitator, actor, writer, director, and producer.  He specializes in utilizing Augusto Boal’s “Theatre of the Oppressed” methodology and the works of William Shakespeare in transforming community and prison settings.  After training with Michael Bogdanov, he became his and Augusto Boal’s personal representative in Northern Ireland.  In 1999 he founded the Educational Shakespeare Company (ESC) to develop drama and film with prisoners and ex-prisoners.  ESC is an award-winning arts education charity, empowering marginalized people to find their voice and tell their stories through film.  In 2007 he directed Mickey B, an award-winning feature film adaptation of Shakespeare’s Macbeth cast with prisoners from Maghaberry maximum-security prison.  For his film direction he has received the 2011 Justice in the Community Award (from the Northern Ireland Department of Justice), the 2008 Roger Graef Award for Outstanding Achievement in Film at the Koestler Awards (for Mickey B), the Arthur Koestler Award for Prison Drama in 2004 and 2006 (for Inside Job and The Big Question, respectively), and the Impetus Human Rights Award in 2005, 2006, and 2007 (for Bridging the Divide).  He has presented his film work in Britain, Canada, Denmark, Germany, Holland, Ireland, Israel, Nigeria, South Korea, and the United States.


More information on Tom’s work can be found at


A trailer of Mickey B can be viewed at


Peter Holland holds the McMeel Family Chair in Shakespeare Studies and is the Associate Dean for the Arts at the University of Notre Dame.  He is one of the central figures in performance-oriented Shakespeare criticism, served as Director of the Shakespeare Institute at Stratford-upon-Avon before coming to Notre Dame in 2002. He is editor of Shakespeare Survey as well as a number of other series. Among his books are English Shakespeares: Shakespeare on the English Stage in the 1990s and a major study of Restoration drama The Ornament of Action. He has also edited many Shakespeare plays, including A Midsummer Night's Dream for the Oxford Shakespeare series. In 2007, he completed publication of a five-volume series of collections of essays entitled Rethinking British Theatre History. In 2007-08, he served as President of the Shakespeare Association of America.  He was elected an honorary fellow at Trinity Hall, his alma mater and one of the 31 colleges that comprise the University of Cambridge.  His Arden edition of Coriolanus was released in early 2013.



Shakespeare at Notre Dame is a program that recognizes the centrality of the study of Shakespeare in humanistic pedagogy at the University of Notre Dame.  The creation of the “Shakespeare Initiative” in 2001 sought to broaden the Shakespeare offerings on campus and establish the permanence of this new tradition for an audience of students, faculty, the South Bend community at-large, and a national and international audience.  To that end, the current programs and future prospects that comprise Shakespeare at Notre Dame have created a regional center for Shakespearean scholarship, production, educational outreach, and academic research by enmeshing programs as far-reaching and diverse as Actors From The London Stage, the Notre Dame Shakespeare Festival, visiting guest artists and lecturers, touring productions, and new media library collections; ensuring Notre Dame’s status as a nationally visible—and the Midwest’s pre-eminent—venue for Shakespeare Studies.  Find out more at


A Conversation with Director Jesse Berger


The Shakespeare Conference: SHK 24.0251  Wednesday, 15 May 2013


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

Date:         May 15, 2013 1:33:54 PM EDT

Subject:     A Conversation with Director Jesse Berger


A Conversation with Director Jesse Berger


Wednesday, May 22, at 7:30 p.m.

National Arts Club, 15 Gramercy Park South

No Charge, but Reservations Requested

To reserve, simply e-mail This email address is being protected from spambots. You need JavaScript enabled to view it. or call 505-988-9560.


As founding artistic director of Red Bull Theater, a company that performs at the Lucille Lortel Theatre in the West Village and draws its name from a London playhouse that was created around 1600, JESSE BERGER has adapted and produced such Jacobean mainstays as Edward II, Pericles, The Revenger’s Tragedy, Volpone, The Witch of Edmonton, and Women Beware Women. His scripts for two of these classics have been published by Dramatists Play Service. Mr. Berger has worked with such actors as F. Murray Abraham, Elizabeth Ashley, Michael Learned, Kelly McGillis, and Patrick Stewart, and his efforts have taken him to such prestigious settings as the Denver Theatre Center, the Guthrie Theater in Minneapolis, the Old Globe Theatre in San Diego, Shakespeare’s Globe in London, and the Shakespeare Theatre Company in Washington. He has taught at the American Academy of Dramatic Art, the Juilliard School of Drama, NYU’s Tisch School of the Arts, and the Shakespeare Theatre Company’s Academy for Classical Acting. During his time in the Nation’s Capital, he won a Helen Hayes Award for his direction of Marat/Sade


CFP: Société française Shakespeare: Global Shakespeare, Paris


The Shakespeare Conference: SHK 24.0246  Tuesday, 14 May 2013


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

Date:         May 14, 2013 10:33:21 AM EDT

Subject:     CFP: Société française Shakespeare: Global Shakespeare, Paris


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


Global Shakespeare as Methodology

Call for papers


Seminar leader: Alexander Huang, George Washington University.


Global Shakespeare as a cultural phenomenon and a field of study has gained much of its vitality from the sheer multiplicity of genres, cultures, and artistic and academic investments in performances as multilingual affairs. Global Shakespeare festivals, performances, and courses are proliferating, because they seem to answer competing structural demands on artists and scholars to be more transnational in outlook while sustaining traditional values. Recent studies that treat “global Shakespeare” not as news-worthy curiosities but as methodology have made meaningful contributions to Shakespeare studies. 


This seminar explores, among other topics, the potential of global Shakespeare as methodology. Papers may address emerging methodological issues by examining well-known instances such as the internationalism of Michael Almereyda’s film Hamlet or traveling stage works such as Grupo Galpão’s Romeu e Julieta. What does it entail to practice, teach, and study global Shakespeare in 2014? What is the value of local knowledge? How do aesthetics and international politics shape the conflicting myths of Shakespeare as a global author and national poet? What values and ideas does global Shakespeare sustain or undermine? 


Annotated, English-subtitled videos of works discussed in the seminar may be available on the open-access Global Shakespeares digital performance archive: Seminar contributors and participants in the Shakespeare 450 conference can take advantage of the digital archive’s curatorial functions to facilitate further discussion. 


Deadline: August 15, 2013


Submit your name, job title, affiliation, email, paper title, and a 250-word abstract to Alexander Huang (This email address is being protected from spambots. You need JavaScript enabled to view it.) by August 15, 2013


Shakespeare’s Globe May News

The Shakespeare Conference: SHK 24.0245  Tuesday, 14 May 2013

From:        Shakespeare’s Globe <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         Tuesday, May 14, 2013 7:46 AM

Subject:     Shakespeare’s Globe May News


The Season of Plenty is off to a cracking start and continues to delight with a sprightly staging of The Tempest. Jeremy Herrin’s production has received several 4 star reviews. Particularly praised were fine performances of the cast, including the charming Jessie Buckley and Joshua James as the young lovers, Roger Allams’ touchingly paternal Prospero and Colin Morgan’s highly energetic Ariel.


The magic continues when seasonal A Midsummer Night’s Dream opens at the end of May. Get closest to the action with a yard ticket for just £5. 


Taking full advantage of the British summer, King Lear is making its way around a variety of open air, and some indoor, venues across the UK and further afield. After a brief stint at the Globe from 13 - 18 May, it will play at Brighton festival before heading to West Sussex. Currently in rehearsals our other touring productions The Taming of the Shrew and the three Henry VI plays head out in June.


This year our cinema series opens with Henry V, followed by Twelfth Night and The Taming of the Shrew from the 2012 season. New locations for 2013 include venues in Hong Kong, Sweden and the Czech Republic.

Globe cinema screenings 2013. Dates and locations have been announced for venues in UK, Ireland and Australia, with many UK locations now on sale. This year includes screenings in venues across New Zealand, Hong Kong, Sweden and the Czech Republic. 


Henry V will be the first production. Shakespeare’s masterpiece of the turbulence of war and the arts of peace tells the romantic story of Henry’s campaign to recapture the English possessions in France. But the ambitions of this charismatic king are challenged by a host of vivid characters caught up in the real horrors of war.


Henry V, which opened the new Globe with the words ‘O for a muse of fire’, celebrates the power of language to summon into life courts, pubs, ships and battlefields within the ‘wooden O’ - and beyond.


Much loved for his performance as Prince Hal in Henry IV Parts 1 & 2 (2010), Jamie Parker returns to Hal’s journey as Henry V. Other credits included The History Boys at the National Theatre, on Broadway and on film.


UK, IE from 3 June

AU from 2 June

NZ from 1 June

SE, CZ, HK, RU, USA from September




Complementing productions in the Season of Plenty, a new audio-visual lecture series exploring film adaptations of Shakespeare’s work, Howard on Shakespeare: Stage and Screen opens with an exploration of key scenes, rival visions, and extraordinary moments in King Lear on 16 May.


Running for two weeks in the summer, Shakespeare’s Globe Summer School, for 16-19 year olds gives budding actors a chance to improve their acting skills and understanding of Shakespeare. Master classes with professional actors and Shakespeare scholars help prepare students preparing for Drama school auditions.


CFP: Seminar 5: Shakespeare and the Visual Arts


The Shakespeare Conference: SHK 24.0240  Monday, 13 May 2013


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

Date:         May 13, 2013 8:43:27 AM EDT

Subject:     CFP: Seminar 5: Shakespeare and the Visual Arts


Seminar 5: Shakespeare and the Visual Arts

Shakespeare Anniversary, Paris

Call for Papers


Seminar leader: Michele Marrapodi, University of Palermo


Critical investigation into the rubric of “Shakespeare and the visual arts” has generally focused on the influence exerted by the works of Shakespeare on a number of artists, painters, and sculptors in the course of the centuries. Relying on the aesthetics of intertextuality and profiting from the more recent concepts of cultural mobility and permeability between cultures in the early modern period, this seminar will study instead the dramatic use and function of Renaissance material arts and artists in Shakespeare’s oeuvre. Among the great variety of possible topics, participants in the “Shakespeare and the visual arts” Seminar may like to consider:

  • the impact of optics and pictorial perspective;
  • anamorphosis and trompe l’oeil effects on the whole range of visual representation; 
  • the rhetoric of “verbal painting” in dramatic discourse;
  • the actual citation and intertextuality of classical and Renaissance artists;
  • the legacy of iconographic topoi;
  • the humanistic debate or Paragone of the Sister Arts;
  • the use of emblems and emblematic language;
  • explicit and implicit ekphrasis and ekphrastic passages in the plays
  • ekphrastic intertextuality, etc.

Registered participants are invited to submit by 10th August 2013 to the address below a one-page abstract of their proposed article on any aspect of the relationship between the age of Shakespeare and Renaissance arts, including the theoretical approach of the arts in the drama of Shakespeare and his contemporaries. Every abstract (approx. 250 words) should include the participant’s name, email, affiliation, and title of the proposed contribution.


Prof. Michele Marrapodi

Facoltà di Lettere e Filosofia

University of Palermo

Subscribe to Our Feeds

Make a Gift to SHAKSPER

Consider making a gift to support SHAKSPER.