The Shakespeare Conference: SHK 23.0219 Monday, 4 June 2012
From: Hardy Cook <
Date: June 4, 2012 8:31:27 AM EDT
Subject: SAA June 2012 Bulletin
The SAA June 2012 bulletin has just been posted on the SAA website at http://www.shakespeareassociation.org/bulletin/currentissue.asp. The bulletin is now an exclusively electronic document but may be downloaded and printed if you prefer examining its pages in hardcopy. In this issue you will find 61 seminars and workshops being offered for the Forty-First Annual Meeting in Toronto to be held on Easter weekend, 28-30 March 2013 at the historic Fairmont Royal York Hotel. The SAA rate at the Royal York is $130 USD per night for single or double occupancy. This rate includes in-room internet access and as well as access to the hotel exercise facilities.
Please examine, too, the selection of special events being planned for the 2013 Meeting including a day trip to the Stratford Shakespeare Festival on Sunday, 31 March.
Seminar and workshop registration is underway now through 15 September and is open only to SAA members; SAA membership dues are charged on an academic year basis, payable now. Both your membership renewal and seminar/workshop registration may be completed online at www.shakespeareassociation.org.
I do hope you will plan on joining us in Toronto and wish you the best for the summer months.
Interim Executive Director
The June 2012 SAA Bulletin may also be downloaded from here: SAA June 2012 Bulletin
CFP Shakespeare and Myth — ESRA Conference in Montpellier
The Shakespeare Conference: SHK 23.0218 Monday, 4 June 2012
From: ESRA <
Date: June 4, 2012 5:15:28 AM EDT
Subject: CFP Shakespeare and Myth — ESRA Conference in Montpellier
The Organizing Committee is pleased to announce the CFP/List of seminars for the “Shakespeare and Myth” ESRA Conference, which will be held in Montpellier (26-29 June 2013).
Choose one and send your abstract before 1 October 2012.
Visit the ESRA webpage: http://www.um.es/shakespeare/esra/conferences/montpellier.php
See attached, or download the seminar presentations at: http://dl.dropbox.com/u/66244838/esra_montpellier2012seminars_cfp_def.pdf
Juan F. Cerdá
University of Murcia (Spain)
You may also download the ESRA announcement with seminars here: CFP ESRA 2013 (219.03 kB)
Donation Request Consideration
The Shakespeare Conference: SHK 23.0216 Friday, 1 June 2012
From: Hardy M. Cook <
Date: Friday, June 1, 2012
Subject: Donation Request Consideration
SHAKSPER is a free service that has been offered to the Shakespearean academic community for the past twenty-three years.
Even though there is no charge to subscribe or to use the resources at the SHAKSPER web site: shaksper.net, I do ask that users, with the means, consider donating to support SHAKSPER. As with public services like PBS, I have decided, beyond the footer and web site, to call attention to the donation process once or twice a year.
If you have donated in the past, you have my sincerest thanks.
If you would like to donate now or in the future, you may go to the SHAKSPER web site <shaksper.net> and click on the Donate button to the right.
Hardy M. Cook, Ph.D.
Bowie State University
Editor of SHAKSPER <shaksper.net>
PS: I do not acknowledge or keep records of those who donate, so that I am not in any way, even subconsciously, influenced by the donation process. Please note that donations are considered gifts to assist in the work of SHAKSPER.
The Shakespeare Conference: SHK 23.197 Wednesday, 23 May 2012
From: Sophie Masson <
Date: May 22, 2012 5:56:09 PM EDT
Subject: My Brother Will
I’m writing to announce of the release of My Brother Will, my new Shakespearean novel for adults, this time (I mainly write for young people) and which has just been published by British e-publisher AchukaBooks, as a Kindle-only edition (other formats may come later) and is now available for sale on amazon.com for US and Australian readers:
and Amazon.co.uk for British readers.
(British readers can also buy it at amazon.com)
It’s the story of a pivotal year in the life of the Shakespeare family in Stratford, when Will was sixteen, and told in the voice of his younger brother Gilbert. Informed by the theory that the Shakespeare family were crypto-Catholics, it is a rich evocation of daily life in sixteenth-century Stratford and the surrounding countryside, centred around four festivals. It is a most unusual book which is written in a style pungently reminiscent of the period, yet without quaintness, and rests on a good deal of research on all kinds of aspects of Shakespeare’s background.
Author site: www.sophiemasson.org
Worlds Together Conference
The Shakespeare Conference: SHK 23.196 Wednesday, 23 May 2012
From: BSA <
Date: May 22, 2012 5:05:35 PM EDT
Subject: Half-price offer for the Worlds Together Conference
A message from Tracy Irish, Education Programme Developer for the World Shakespeare Festival:
Through a grant provided by the British Council to support the World Shakespeare Festival, produced by the RSC for London 2012, we are delighted to offer a 50% discount on a three day pass to our Worlds Together conference, 6- 8 September at Tate Modern in London.
World Together is an international conference exploring the value of Shakespeare and the arts in young people’s lives. It is a collaboration between Tate Modern, The British Museum, The National Theatre and The Royal Shakespeare Company (RSC) drawing together different disciplines to ask what is at stake for children’s cultural lives today. The Shakespeare strand of this special three day event is for artists and educators passionate about teaching Shakespeare. It offers exclusive access to leading artists and practitioners through a range of workshops, discussions, seminars and key note addresses.
The conference pass includes access to the full three day programme of workshops, keynotes, panel discussions and presentations, free entry to the ‘Staging the World’ exhibition at the British Museum and offers for other cultural events connected to the London 2012 festival. A limited number of conference passes are available on a first come, first served basis at £195 (full price is £395).
For details on how to access this offer, please email:
For further details of the conference, please click on ‘Worlds Together conference’ from the drop down menu at www . worldshakespearefestival . org . uk/education
The Shakespeare Conference: SHK 23.191 Friday, 18 May 2012
From: Joseph Sullivan <
Date: May 16, 2012 2:23:33 PM EDT
Subject: Updated CFP: 36th Annual OVSC
The 36th Annual Ohio Valley Shakespeare Conference 2012
October 18-20, 2012
The planning committee of the Ohio Valley Shakespeare Conference seeks proposals for papers or panels from across today’s theoretical and methodological landscape that engage some facet of the amalgam “Extreme(ly) Shakespeare(an).” “Extreme Shakespeare” alludes to the wide variety of extremities that can be found in Shakespeare’s work. It brings to mind those occasions where the playwright demonstrates either a lack of regard for or a lack of control over the principles of proportionality and balance, to the degree either of those principles were prioritized by dramatists of the early modern period. Of course, extremity is an inherently relative value, which leads to a second facet of the amalgam open to conferees. “Extremely Shakespearean” refers to the fundamental characteristics of Shakespeare’s art, craft, thought, philosophy, etc. How might we best operationalize the term “Shakespearean”? What quality or qualities should we identify as the quintessence of Shakespeare’s work? Conversely, where do we observe Shakespeare at his least Shakespearean? Have we in the past, do we now, and/or might we ever share a persuasive understanding of what constitutes the most significant attributes of Shakespeare? Is the pursuit a noble quest, or a fool’s errand?
The OVSC publishes a volume of selected papers each year and conferees are welcome to submit revised versions of their papers for consideration. Students who present are eligible to compete for the M. Rick Smith Memorial Prize.
Ralph Alan Cohen
The American Shakespeare Center and Mary Baldwin College
Lina Perkins Wilder
Featured conference events will include a site-specific production of Hamlet staged by the Marietta College Theatre Department as well as an Esbenshade Series concert with a Shakespearean theme. Other conference events will include a night owl screening of a recent film adaptation, an evening reception at a local establishment, our annual luncheon, coffee, tea & snack breaks that will have you stuffing your pockets “for later,” and all the October foliage your eyes can possibly take in.
Abstracts and panel proposals are due by June 8th for an early decision. The final deadline is August 31st. All submissions and inquiries should be directed to Joseph Sullivan at
or by mail to
Marietta, OH 45750.
Conference updates will be posted on our webpage as they become available.
The Shakespeare Institute Review CFP
The Shakespeare Conference: SHK 23.189 Wednesday, 16 May 2012
From: Giulia Sandelewski <
Date: May 16, 2012 4:36:03 AM EDT
Subject: The Shakespeare Institute Review CFP
The Shakespeare Institute Review is a new online academic journal, which is funded by the University of Birmingham College of Arts and Law. It is run by four research students at the Shakespeare Institute, Stratford-upon-Avon, UK.
Students at this institution, and on other postgraduate Shakespeare programmes, are invited and encouraged to contribute short papers for publication. Each issue of the journal will be themed.
We thought it exhilaratingly inappropriate, and so irresistible, to signal the birth of this journal with an issue looking at death.
Students are encouraged to submit papers, between 1,500 and 2,500 words, on topics relating to death, mortality and religion in Shakespeare’s plays, or elsewhere in the Early Modern period.
Possible topics might include, but are not restricted to:
Critical examinations of the way that various of Shakespeare’s characters deal with death, or die. This could include close-reading, comparative analysis, and analysis from a specific theoretical position (Marxist, feminist, etc.).
Historical studies of how mortality or religion was understood in the early Modern period, and of how Shakespeare makes use of (and plays off) those understandings in his plays.
Considerations of the political, ethical, religious, spiritual and existential significances of mortality or religion in the Early Modern period, and for Shakespeare’s characters.
Comparisons between how Shakespeare understands mortality, and how other creative artists and philosophers—of Shakespeare’s time, or before, or after—have understood it.
More intensely personal and experientially engaged writing on how Shakespeare’s plays have helped you deal with death—with your own mortality, or with the death of people that you know. How does Shakespeare make you look at death, and is this vision comforting or distressing? Does Shakespeare get to the truth of death, for you, or not?
Reflections on metaphysical and spiritual truths that arise from Shakespeare’s plays.
More provocative reflections on how the writing that is produced by the Modern academy—writing that is critical, theoretical, historical—does not deal adequately with death in Shakespeare’s plays, and suggestions as to how this inadequacy can be rectified.
Suggestions of other topics will be warmly received.
Papers should be submitted to
, with a deadline of 20 May 2012.
All submissions will be reviewed by the editorial board, and those submissions that are selected will be published in our first online issue. Please contact us for further information.
Giulia I. Sandelewski
Ph.D.c Shakespeare Studies
The Shakespeare Institute Review, Co-Editor
BritGrad Publicity Team
SSCC Student Representative
The Shakespeare Conference: SHK 23.188 Tuesday, 15 May 2012
From: Helen M Ostovich <
Date: May 14, 2012 2:19:10 PM EDT
Subject: Early Theatre 15.1 (June 2012)
Early Theatre 15.1 (2012)
Special Issue: Access and Contestation: Women’s Performance in Early Modern England, Italy, France, and Spain
Guest Editor: Peter Parolin
Access and Contestation: Women’s Performance in Early Modern England, Italy, France, and Spain
Women and Performance in Medieval and Early Modern Suffolk
‘If I had begun to dance’: Women’s Performance in Kemps Nine Daies Wonder
Peter Parolin 47
‘In the Sight of All’: Queen Elizabeth and the Dance of Diplomacy
Between Courts: Female Masquers and Anglo-Spanish Diplomacy, 1603–5
Mark Hutchings and Berta Cano-Echevarría
Marie de Medici’s 1605 ballet de la reine: New Evidence and Analysis
Melinda J. Gough
‘Cattle of this colour’: Boying the Diva in As You Like It
Pamela Allen Brown
The Spanish Actress’s Art: Improvisation, Transvestism, and Disruption in Tirso’s El vergonzoso en palacio
Amy L. Tigner
Conniving Women and Superannuated Coquettes: Travestis and Caractères in the Early Modern French Theatre
Melissa Croteau and Carolyn Jess-Cooke (eds). Apocalyptic Shakespeare: Essays on Visions of Chaos and Revelation in Recent Film Adaptations. Jefferson, NC and London: McFarland, 2009.
Reviewed by Catherine Silverstone
Jane Hwang Degenhardt and Elizabeth Williamson (eds). Religion and Drama in Early Modern England: The Performance of Religion on the Renaissance Stage. Aldershot and Burlington: Ashgate, 2011.
Reviewed by Erin E. Kelly
Eugene Giddens. How to Read a Shakespearean Play Text. Cambridge: Cambridge University Press, 2011.
Reviewed by Brett D. Hirsch
Max Harris. Sacred Folly: A New History of the Feast of Fools. Ithaca and London: Cornell University Press, 2011.
Reviewed by Abigail Ann Young
Natasha Korda. Labors Lost: Women’s Work and the Early Modern English Stage. Philadelphia: University of Pennsylvania Press, 2011.
Reviewed by Susan C. Frye
Robert Mullally. The Carole: A Study of a Medieval Dance. Aldershot and Burlington: Ashgate, 2011.
Reviewed by Emily F. Winerock
Kristen Poole. Supernatural Environments in Shakespeare’s England: Spaces of Demonism, Divinity, and Drama. Cambridge: Cambridge University Press, 2011.
Reviewed by Ian McAdam
Federico Schneider. Pastoral Drama and Healing in Early Modern Italy. Aldershot and Burlington: Ashgate, 2010.
Reviewed by Alexandra Coller 244
Virginia Scott. Women on the Stage in Early Modern France, 1540–1750. Cambridge: Cambridge University Press, 2010.
Reviewed by Claire Sponsler 247
The Shakespeare Conference: SHK 23.185 Thursday, 10 May 2012
From: Annalisa Castaldo <
Date: May 9, 2012 8:28:24 AM EDT
Subject: CFP MAPACA
Call for Papers MAPACA 2012
November 3-5, 2012
The wealth of material found in the Middle Ages and Renaissance continues to attract modern audiences in the form of with new creative works in areas such as fiction, film, and computer games, which make use of medieval and/or early modern themes, characters, or plots. This is a call for papers or panels dealing with any aspect of medieval or Renaissance representation in popular culture. Topics for this area include, but are not limited to the following:
-Modern portrayals of any aspect of Arthurian legends or Shakespeare
-Modern versions or adaptations of any other Medieval or Renaissance writer
-Modern investigations of historical figures such as Eleanor of Aquitaine, The Richards, Henry VIII, Elizabeth I, Mary Queen of Scotts
-Teaching medieval and renaissance texts to modern students
-Medieval or Renaissance links to fantasy fiction, gaming, comics, video games, etc.
Medieval or Renaissance Dramas
-The Middle Ages or Renaissance on the Internet
Panel and Workshop proposals are also welcome.
Submit a 250 word proposal including A/V requests along with a CV or brief bio by June 15, 2012 to:
Chesapeake Shakespeare Company News
The Shakespeare Conference: SHK 23.184 Thursday, 10 May 2012
From: Kevin Costa <
Date: May 7, 2012 8:01:49 PM EDT
Subject: Big News from Chesapeake Shakespeare
CHESAPEAKE SHAKESPEARE COMPANY EXPANDS INTO DOWNTOWN BALTIMORE
Classical theater acquires second home in historic Mercantile Building to host indoor performances
BALTIMORE (May 7, 2012) — Howard County–based Chesapeake Shakespeare Company today announces the acquisition of the historic Mercantile Trust and Deposit Company building in downtown Baltimore, which will serve as its second home and establish a new cultural center for live performances of Shakespeare and other classics just two blocks from the city’s celebrated Inner Harbor.
Located at 200 East Redwood Street, the Mercantile Trust and Deposit Company building was constructed in 1885 and is one of Baltimore’s more notable architectural landmarks. Chesapeake Shakespeare Company has plans to convert the building’s interior into an intimate 250-seat theater for indoor performances, educational programs, and community events.
“Chesapeake Shakespeare Company is in its 10th season serving almost 12,000 people every year,” says Ian Gallanar, founding artistic director. “We are thrilled about our expansion into the thriving Baltimore theater scene. While we will continue to serve our current patrons with outdoor performances at our home stage in Howard County, this second location will broaden our reach and help foster a new community of classical theater enthusiasts.”
The Mercantile Trust and Deposit Company building was purchased for the sole use of Chesapeake Shakespeare Company by the Helm Foundation, an organization directed by Scott Helm, one of the trustees of the Chesapeake Shakespeare Company. The total cost of the project, including the building’s purchase and renovation, is estimated to be around $6 million.
Cho Benn Holback + Associates, Inc.—the architecture firm responsible for the Everyman Theatre, the James Rouse Center in the Visionary Arts Museum and the Creative Alliance at The Patterson Theater—is working with Chesapeake Shakespeare Company on design plans that model the new indoor theater after Shakespeare’s famous Globe Theatre in London. The design combines the intimacy of a traditional Elizabethan playhouse with a contemporary sense of design and convenience. Renovations will begin in early 2013, with the expectation of opening in 2014.
“The building’s substantial mezzanine, elaborate and colorful carved ceiling, and Corinthian columns all echo elements of Elizabethan theaters,” says Lesley Malin, managing director of the Chesapeake Shakespeare Company. “We are enthusiastic about working with Cho Benn Holback to incorporate these beautiful architectural features into a modern-day Globe in downtown Baltimore.”
The acquisition of the Mercantile Building will be key in Chesapeake Shakespeare Company’s effort to create a downtown “theater triangle” that will connect the new Inner Harbor theater with the Hippodrome and the Everyman Theatre on the West Side, and Mount Vernon’s CenterStage.
“I am very excited that the Chesapeake Shakespeare Company is choosing Baltimore for its indoor home,” Mayor Stephanie Rawlings-Blake says. “This is a welcome cultural asset that strengthens downtown as a growing and vibrant neighborhood. I look forward to seeing the first show.”
Chesapeake Shakespeare Company will add an eight-month season of shows at the downtown location and provide after-school and weekend programs for the students of Baltimore. The company has plans to run additional special events including an international theater festival that will bring classical theater companies from around the world to Baltimore.
“We couldn’t be more excited about Chesapeake Shakespeare’s arrival into Downtown Baltimore,” says Kirby Fowler, President of the Downtown Partnership of Baltimore. “Their plans for adaptive reuse are perfect for this building, one of Downtown’s greatest historic structures. After 130 years, it’s as if this building is finally becoming what it was meant to be. The new theater will be located in the heart of the City’s fastest growing neighborhood, where it will quickly become a cultural destination for our many residents, employees, and visitors.”
Chesapeake Shakespeare Company:
Chesapeake Shakespeare Company, the Baltimore area’s third largest theater company, was founded in 2002 with a mission to create innovative performance and education programs that bring the works of William Shakespeare and other classics to life. It is a member of the Theatre Communications Group, the organization for professional theaters in the United States and the Shakespeare Theatre Association, the international organization for professional Shakespeare theaters. Chesapeake Shakespeare Company is committed to making the arts more accessible to the community by intensifying the connection between audiences and artists and some of the greatest works of theater ever written.
The Mercantile Trust and Deposit Company Building:
The Mercantile Trust and Deposit Company building is on the National Register of Historic Places; it was built in 1885, was one of only a few buildings to survive the Great Fire of 1904, and served as a bank until 1993. It is considered a major architectural landmark and Baltimore's paramount example of Romanesque Revival architecture featuring rust-colored brick walls, slate roof, and massive Roman arches constructed of locally quarried stone, much of which is finely carved. In 2001, it went through a $2.2 million renovation and since then has been occupied by a number of night clubs. The current tenant, Club Dubai, will remain until the end of its lease at the end of 2012.
[Editor’s Note: There was recently a story about the move in the Baltimore Sun: http://www.baltimoresun.com/entertainment/arts/bs-ae-chesapeake-shakespeare-20120507,0,3699959.story --Hardy]