Hamlet in the Original Pronunciation
The Shakespeare Conference: SHK 22.0244 Thursday, 29 September 2011
From: Thomas M Lahey <
Date: September 23, 2011 12:01:28 PM EDT
Subject: Hamlet in the Original Pronunciation, Univ of NV, Reno
Nevada Repertory Company announces
The World Premiere of William Shakespeare’s Hamlet in the Original Pronunciation
Nov. 1, 2 and 3 (Preview Performances), 7:30 p.m.
Nov. 4, 5, 8, 9, 10, 11, 12, 15, 16, 17, 18 and 19, 7:30 p.m.
Nov. 6, 13 and 20, 1:30 p.m.
Redfield Studio Theatre
The theatre world will be watching — and listening — in awe when the University's world premiere of Hamlet in the Original Pronunciation (OP) hits the stage this fall. Amazingly, the last time Hamlet was presented in its original dialect was literally centuries ago. In fact, only four OP productions of anything Shakespearean have been performed in modern times: two recently at The Globe Theatre in London, one at the University of Kansas, and one at Cambridge in the 1950s. And modern audiences have been delighted by how understandable the early language is, including the discovery of now-rhyming lines once lost to the ages (love/prove, eyes/qualities, etc.). In the University's remarkable international collaboration, a diverse group of world-class artists, directors, and scholars will come together to produce this world-class event: the great English linguist and The Globe's own consultant David Crystal, author of "Pronouncing Shakespeare"; British superstar actor and scholar Ben Crystal, who will play Hamlet; the University's award-winning Shakespearean scholar, this production's dramaturge, and co-editor of "The Royal Shakespeare Company's Complete Works of William Shakespeare," professor Eric Rasmussen; and the University's own renowned Nevada Repertory Company under the visionary leadership of director and department chair, Rob Gander. A once-in-a-lifetime event indeed — no matter how you say it!
Preview Performances: Adult $10, ASUN $5 (limited quantity available)
All Other Shows: Adult $15, Senior $12, Local Student w/ID $10, UNR Student $5 (limited quantity available)
Queen Undaunted: Margaret of Anjou
The Shakespeare Conference: SHK 22.0241 Thursday, 29 September 2011
From: Jeannette Webber <
Date: September 23, 2011 4:18:00 PM EDT
Subject: Queen Undaunted: Margaret of Anjou
[Editor’s Note: My apologies for not distributing this announcement in a timely manner. Nevertheless, I include it here as a record in the SHAKSPER archives. -Hardy]
Dear SHAKSPER Colleagues,
Unless you're in or near Santa Barbara CA this weekend, you won't be able to come, but it occurred to me belatedly that some of you would be interested in the show I wrote based on Margaret of Anjou. It's about 2/3 Shakespeare's words--which I identify on the script though listeners hopefully will find seamless with my 1/3: the structure and transitions. I've written various notes and student information sheets and there's an article about the script and production in the Friday, Sept 23 Santa Barbara News Press by Joe Hansen. Here's the listing:
Queen Undaunted: Margaret of Anjou, a one woman show featuring E. Bonnie Lewis of DramaDogs, directed by Ken Gilbert and Michelle A. Osborne and written by Jinny Webber, gives us Margaret according to Shakespeare, the only person to appear in four of his plays. From her first appearance as a young French princess engaged to Henry VI of England to her defeated but unvanquished old self, we follow her through Henry VI, Parts 1, 2, and 3 and Richard III. Initially modest and girlish, she becomes ruthless, vengeful and fierce. She loves, she hates, she acts with intensity in a world where women were meant to be compliant and submissive--and quiet. Complex and ambiguous, her voice resonates down the ages.
See www.centerstagetheater.org for more information.
Center Stage Theater: Paseo Nuevo Mall, Santa Barbara, California
September 24th Saturday Matinee 2 PM. All seats $10.
September 24th Saturday Evening 8 PM and September 25th Sunday Matinee 2 PM
The Shakespeare Conference: SHK 22.0237 Thursday, 22 September 2011
From: Will Sharpe <
Date: September 21, 2011 4:42:47 AM EDT
Subject: The Lizz Ketterer Trust
The link below advertises a production of Hamlet that we are performing at the Shakespeare Institute next month to raise funds to establish a scholarship in the name of our beloved friend, Dr Lizz Ketterer, who died tragically young earlier this year. Please take a moment to look at our website and consider either coming to the show or donating some money if it's not possible to make the trip here (and for some of you it clearly isn't). We are in the final stages of setting ourselves up as a registered charity and details will be shortly available of how donations can be made. Please feel free to share this with anyone you think might be interested. We also have a Facebook page (link below), and the more people who know about us the better so please 'like' us and share our link on your profiles if you feel so inclined. I could go on, but the website tells all. If you have any inquiries about anything at all, please direct them to our email address,
Many thanks to all,
Teaching the Early Modern Period
The Shakespeare Conference: SHK 22.0235 Monday, 19 September 2011
From: Lowell Duckert <
Date: Wednesday, 14 Sep 2011 14:05:36 -0400
Subject: Teaching the Early Modern Period
Teaching the Early Modern Period
Edited by Derval Conroy and Danielle Clarke
“This book is an excellent addition to materials on pedagogy not simply for the early modern period but in general. The range of responses is fittingly diverse and much thought has been put into designing a well-crafted and innovative collection. The key importance of the volume is its geographical, disciplinary, and cultural range. One of the great virtues of this book is its diversity, and it will appeal to scholars, postgraduates, and teachers in the UK, USA, Europe, and Australia.”—Jerome de Groot, University of Manchester, UK
Teaching the Early Modern Period is an innovative project that brings together leading early modernists drawn from a wide geographical and disciplinary background. Scholars from English, History, and French Studies unite in this unique volume to examine the challenges, and solutions to those challenges, which the early modern period provides in the third-level classroom. Nine essays are interspersed with fourteen shorter reflections by contributors from Ireland, the UK, France, the Netherlands, South Africa, Canada, and the USA; the volume hence provides a rare transcontinental insight into current pedagogical praxis in a number of Western national traditions, presenting a wide range of case-studies of how research can inform teaching from scholars who refuse to accept a divorce between the two.
Introduction; D. Clarke & D. Conroy
The Scholarship of Teaching the Early Modern: An Overview; D. Conroy
Part I: The Early Modern in the Digital Age
Renaissance Teaching and Learning: Humanist Pedagogy in the Digital Age and What It Might Teach Us; D. Clarke
Information Revolutions Past and Present, and Teaching the Early Modern Period; P. Dover
Part II: The Early Modern and Its Others
'Other voices': The Early Modern Past in Provincial America; J. Dewald
Exploring the Limits of the Thinkable; S. Stuurman
Lobola, the Intombi, and the Soft-Porn Centaur: Teaching King Lear in the Post-Apartheid South African Classroom; D. Seddon
Windows of Gold; R. Whelan
A Renaissance Woman Adrift in the World; M. E. Wiesner-Hanks
Worlds Apart, Worlds Away: Integrating the Early Modern in the Antipodes; S. Broomhall
Paradise Regained? Teaching the Multicultural Renaissance; J. Grogan
Shakespeare and the Problem of the Early Modern Curriculum; A. Hadfield
Part III: The Early Modern in the Contemporary Classroom: Course Design and Classroom Practice
An Early Modern Challenge: Finding the Student In-Road; P. Cheney
Teaching Shakespeare Historically; M. Burnett
The Importance of Being Endogenous; A. Viala
Literature, Philosophy and Medicine: Strategies for an Interdisciplinary Approach to the Seventeenth Century; B. Höfer
Versailles; H. Goldwyn
Paradoxical Creativity: Using Censorship to Develop Critical Reading and Thinking; K. Waterson
T-shirt Day, Utopia and Henry VIII's Dating Service: Using Creative Assignments to Teach Early Modern History; C. Levin
The Importance of Boredom in Learning About the Early Modern; C. Sullivan
Part IV: Performing the Early Modern
French Seventeenth-Century Theatre: Saying is Believing; H. Phillips
Teaching Early-Modern Spectacle through Film: Exploring Possibilities, Challenges, and Pitfalls through a French Corpus; G. Spielmann
Relevance and Its Discontents: Teaching Sofia Coppola's Marie Antoinette; A. Wygant
Presence, Performance, and Critical Pleasure: Play and Prerequisites in Research and Teaching; C. Biet
Derval Conroy is Lecturer in French at University College Dublin, Ireland. She has published extensively on women and women writers in seventeenth-century France.
Danielle Clarke is Associate Professor of English Renaissance Language and Literature at University College Dublin, Ireland. She has published widely on questions of gender, language, and representation in the early modern period.
CFP: Shakespeare and Performance
The Shakespeare Conference: SHK 22.0234 Monday, 19 September 2011
From: Sarah Gail Farrell <
Date: September 15, 2011 12:04:15 PM EDT
Subject: CFP: Shakespeare and Performance
Early Modern Studies Journal (EMSJ) formerly Early English Studies (EES) is an online journal under the auspices of the University of Texas, Arlington, English Department and is devoted to literary and cultural topics of study in early modern period. EES is published annually, peer-reviewed, and open to general submission.
The 2012 issue will focus on Shakespeare and Performance. We are interested in articles that consider any aspect of performance in historical or contemporary productions of Shakespeare and his contemporary playwrights. The following list is of possible topics, but should not be considered exhaustive:
Comparative performance in England
Comparative performances in England and other countries
Performance of Guilds
Women and Performance
Current Productions of early modern plays
Actors and the text
Court Performances and Masques
Please submit double-spaced manuscripts in Times New Roman, 12 pt font that do not exceed thirty pages in length, including notes (9,000 words total); electronic submission in Word format is required. Please use endnotes rather than a bibliography, formatting to Chicago Manual of Style, 15th Ed. The author’s name, affiliation, and academic history should be included on the first page of the document. Thereafter, the author’s name should not appear in the document. Submissions are due January 31, 2012. The issue will appear in Fall 2012. Please contact Dr. Amy Tigner at
with any queries.
Early Modern Studies Journal
The Shakespeare Conference: SHK 22.0230 Tuesday, 13 September 2011
From: David Crystal <
Date: September 13, 2011 4:24:55 AM EDT
Subject: Original Pronunciation
This is to let colleagues know that a clearing-house site for productions and projects in original pronunciation went live this week. You can find it at http://www.originalpronunciation.com.
CFP Deadline OVSC--September 15th
The Shakespeare Conference: SHK 22.0229 Tuesday, 13 September 2011
From: Joseph Sullivan <
Date: September 12, 2011 8:14:36 PM EDT
Subject: CFP Deadline OVSC--September 15th
The Ohio Valley Shakespeare Conference
Call For Papers
Shakespeare and Ethics
Michigan State University
November 3-5, 2011
Extended deadline for abstract submission: September 15, 2011.
The planning committee of the Ohio Valley Shakespeare Conference is seeking abstracts and paper proposals that investigate questions of ethics in the work of Shakespeare and his contemporaries. We're thinking of ethics in a broad sense, to include issues of gender, race, class, culture, religion, labor, economics, justice, environmentalism, and nature. Papers might consider issues of ethics as they are reflected upon within a particular play or more broadly within the dramatic and poetic works of Shakespeare and his contemporaries, and may take up questions concerning the role of Shakespeare as a cultural icon and literary figure, his works within the performance tradition or in the English and global literary canons, and in relation to early modern as well as contemporary values.
Abstracts are due by September 15, 2011. All inquiries should be directed to: Sandra Logan
or c/o Department of English / 201 Morrill Hall / Michigan State University / 48824. E-mail abstracts to
with the subject line OVSC Proposal. Please include contact information, academic affiliation, if any, and status: independent, faculty, grad student, or undergrad.
Emily Bartels – Professor of English, Rutgers University. She is the author of Speaking of the Moor: Alcazar to Othello (2008), and Spectacles of Strangeness: Imperialism, Alienation, and Marlowe (1993), and extensive publications on critical race studies in the early modern period, as well as questions of early modern gender and desire. She is currently working on a monograph on Intertextual Shakespeare.
Bradin Cormack – Associate Professor of English, University of Chicago. He is the author of A Power to Do Justice: Jurisdiction, English Literature, and the Rise of Common Law, 1509–1625 (2007), and a wide range of publications on law, drama, and poetry in the work of Shakespeare and other early modern authors.
OVSC invites graduate and undergraduate students to compete for the M. R. Smith Prize. Select conference proceedings are published in a juried, online journal.
Colloquium on Othello at Fairleigh Dickinson University
The Shakespeare Conference: SHK 22.0225 Friday, 9 September 2011
From: Harry Keyishian <
Date: September 8, 2011 9:47:08 PM EDT
Subject: Colloquium on Othello at Fairleigh Dickinson University
Othello is the subject of Fairleigh Dickinson University’s 19 Annual Shakespeare Colloquium, which will be held on Saturday, October 22, 2011, from 9:30 a.m. – 3:30 p.m. in Madison, New Jersey. The colloquium is free and open to the public. All New Jersey teachers who participate are eligible for Professional Development Credits.
Speakers will be Allison Deutermann of Baruch College, CUNY; Ian Smith of Lafayette College; Jeffery Alan Triggs of Rutgers University; and Eric Johnson-DeBeaufre of Drew University.
Allison Deutermann will decipher the effects of confession in accordance to Othello. Ian Smith’s presentation, “Race, Comedy, and Othello” will examine the role of racism in creating social harmony for an exclusive majority. Eric Johnson-DeBeaufre will link the issues of male friendship and shared expression in Othello. The colloquium will conclude with Jeffery Alan Trigg’s comparison of Shakespeare’s play with Arrigo Boito’s libretto for Giuseppe Verdi’s opera Otello.
The colloquium is supported by Fairleigh Dickinson University, The Columbia University Seminars office, and individual donations. Organizer and project director is Harry Keyishian. For further information, or to register, please call 973-443-8711 or email Harry Keyishian at
. Fairleigh Dickinson University is located at 285 Madison Avenue, Madison, NJ 07940.
The Shakespeare Conference: SHK 22.0224 Wednesday, 7 September 2011
From: Eddie Baart <
Date: September 7, 2011 6:36:40 AM EDT
Subject: Conference July 2012
The Eighth Triennial Congress and Conference of the Shakespeare Society of Southern Africa
3-5 JULY 2012
Rhodes University, Grahamstown
Eastern Province, South Africa
It is with pleasure that we invite you to participate in our forthcoming Conference.
Theme: Staging Shakespeare – Direction, Design and Reception:
This conference looks at Shakespeare in the theatre, with particular attention to the contemporary and historical challenges of staging his plays. Accounts by directors, theatre practitioners, and theatre historians are particularly welcome. We are very pleased that the following have agreed to give plenary lectures:
Robert Gordon. Professor of Drama and Director of the Pinter Centre for Research in Writing and Performance of Goldsmith College, University of London
Dame Janet Suzman, the famous Shakespearean actress and author of Acting with Shakespeare
Scott Newstok, Professor at Rhodes College, Tennessee. Author of many books and articles on Shakespeare
CALL FOR PAPERS
Papers of 25 minutes duration are invited on the following or related topics:
Shakespeare on stage: contemporary approaches
Visualising the Shakespearean stage: stark or sumptuous?
Staging Shakespeare’s text: what price language?
Beyond Words: Shakespeare and Physical Theatre
Styling Shakespeare for film
Staging my country’s Shakespeare
The influence of Victorian Shakespeare on stage and in literature
Tweaking Shakespeare - the director’s ‘Aye’: feminist/proletarian/(anti-) sexist/religious/eco-critical productions
Shakespearean music and choreography
Shakespeare on the South African stage
Shakespeare between cultures: reaching the multivalent audience
Indigenising Shakespeare on stage
Staging Shakespeare in translation.
Abstracts of no more than 250 words should be sent to the conference coordinator, Warren Snowball (
) by 29th February 2012. Those who wish to put together special interest sessions should notify the coordinator concerning the proposed topic and participants.
For further information and to answer any queries, please contact the conference secretary, Eddie Baart:
Monday 2nd July Transport from Port Elizabeth airport and settling into accommodation
Evening - Welcoming cocktail party given by Rhodes University
Tuesday 3rd July Registration, Congress Business Meeting, Presentation of papers
Evening free for delegates to sample the National Arts Festival
Wednesday 4th July Presentation of papers,
Afternoon game drive and conference dinner
Thursday 5th July Presentation of papers,
Evening - specially commissioned performance of a Shakespeare play.
Registration: A website for registration for the conference is under construction.
Accommodation: As the National Arts Festival is running at the same time, accommodation in Grahamstown will be at a premium. Delegates may stay in a residence of Rhodes University at a reasonable cost, Accommodation is in single rooms with communal toilet facilities. Breakfast is provided. The Conference proceedings are held on the Rhodes campus, within easy walking distance of the residences.
The National Festival of the Arts is running in Grahamstown from 28th June to 8th July with hundreds of shows in the Main Program and on the Fringe. Delegates to the Shakespeare Conference may wish to extend their stay to sample the Festival. There are also many famous game parks close to the town (Shamwari, Kwandwe, Pumba ....) which provide one-day game drives.
For more information on Rhodes University refer to http://www.ru.ac.za/conferences
For more information on the Eastern Cape refer to http://www.sa-venues.com/eastcape.htm
Emeritus Professor Eddie Baart
Shakespeare Society of Southern Africa
phone: 046 603 7288
Latest Issue of Cahiers Elisabethains
The Shakespeare Conference: SHK 22.0219 Tuesday, 6 September 2011
From: Jean-Christophe MAYER <
Date: September 6, 2011 9:00:36 AM EDT
Subject: Latest Issue of Cahiers Elisabethains
The Latest Issue Of Cahiers Elisabethains Is Now Available: N° 79 (2011)
* Please note also that article submissions are now open for the next issues of the journal. For details about submissions and/or subscriptions, please see the end of this message.
Dramatizing Belief: Charlatans, Credulity and Faith in John Heywood’s Four PP
Hope, Despair and the Voicing of Renaissance Homoeroticism in Richard Barnfield’s “Certaine Sonnets”
Clinton E. Hammock
The Ambivalence of Revenge and of the Avenger’s Role in Hamlet: The Function of Letters and Emblematic Allusions
The Wilderness Metaphor in The Duchess of Malfi
Shakespeare’s Sir John Oldcastle and Jonson’s Ursula the Pig Woman
“The actors are come hither”: Andrzej Wajda’s Shakespearean Happening in Gdansk
Fausuto no Higeki [The Tragedy of Doctor Faustus], directed by Yukio Ninagawa, Theatre Cocoon, Tokyo, 17 July 2010 (Tomonari Kuwayama)
La Nuit des rois [Twelfth Night], translated by Jean-Michel Déprats, directed by Nicolas Briançon, Festival “Le Printemps des Comédiens”, Amphithéâtre d’O, Montpellier, 17 June 2010 (Nathalie Crouau & Gaëlle Ginestet)
Roméo et Juliette [Romeo and Juliet], directed by Françoise Chatôt, Théâtre Gyptis, Marseille, France, 15 March 2011 (Florence March)
La Comédie des erreurs [The Comedy of Errors], directed by Dan Jemmett, Théâtre des Bouffes du Nord, Paris, 5 and 8 February 2011 (Stéphane Huet)
La Nuit des rois [Twelfth Night], adapted and directed by Jean-Michel Rabeux, MC93 (Maison de la Culture de Seine-Saint-Denis), Bobigny, 22 March 2011 (Stéphane Huet)
The Coveted Crown: Henry IV, Parts I and II, directed by Patrick Swanson, Actors’ Shakespeare Project, Midway Studios, Fort Point Channel, Boston, USA, 20 November 2010 (Kaara L. Peterson)
The Duchess of Malfi, directed by Laurie Sansom, The Royal Theatre, Royal and Derngate, Northampton, 19 October 2010 (Eleanor Collins)
Richard II, directed by Andrew Hilton, The Tobacco Factory, Bristol, 25 February 2011 (Peter J. Smith)
The Comedy of Errors, directed by Andrew Hilton, The Tobacco Factory, Bristol, 30 April 2011 (Yolana Wassersug)
Hamlet, directed by Nicholas Hytner, Olivier Theatre, National, London, 7 October, 26 October and 26 November 2010 (Peter J. Smith)
King Lear, directed by Michael Grandage, Donmar Warehouse, London, 13 January 2011 (Colette Gordon)
As You Like It, directed by Stephen Unwin for the Rose Theatre, Rose Theatre, Kingston-upon-Thames, 24 February 2011 (Neil Allan)
Hamlet, an RSC Young People’s Shakespeare production directed by Tarell Alvin McCraney, The Courtyard Theatre, Stratford-upon-Avon, 10 September 2010 (Richard Kenney)
Measure for Measure, directed by Amy Hodge, The Provincial, Cardiff, 24 November 2010 (P. B. Roberts)
Doctor Faustus, directed by Toby Frow, The Royal Exchange, Manchester, 21 September 2010 (Kath Bradley)
Julie Sanders, ed., Ben Jonson in Context (Cambridge: Cambridge University Press, 2010) (Warren Chernaik)
James Schiffer, ed., Twelfth Night: New Critical Essays (London and New York: Routledge, 2011) (Walter Cannon)
Jane Kingsley-Smith, Cupid in Early Modern Literature and Culture (Cambridge: Cambridge University Press, 2010) (Sarah Carter)
Michael D. Bristol, ed., Shakespeare and Moral Agency (London & New York: Continuum, 2010) (Dana E. Aspinall)
Scott L. Newstok, Quoting Death in Early Modern England: The Poetics of Epitaphs Beyond the Tomb (London: Palgrave Macmillan, 2009) (Joseph Sterrett)
Lloyd Edward Kermode, ed., Three Renaissance Usury Plays, Revels Plays Companion Library (Manchester and New York: Manchester University Press, 2009) (Charles Whitworth)
Richard Rowland, Thomas Heywood’s Theatre, 1599-1639: Locations, Translations, and Conflict (Farnham: Ashgate, 2010) (Eoin Price)
Julian Curry, Shakespeare On Stage: Thirteen Leading Actors on Thirteen Key Roles (London: Nick Hern Books, 2010) (Kevin A. Quarmby)
Erica Sheen, Shakespeare and the Institution of Theatre: “The Best in this Kind” (Basingstoke: Palgrave Macmillan, 2009) (Eoin Price)
Compiled by Janice Valls-Russell
To order issues: <
Submissions can be send to either of Cahiers's assistant editors: <
> or <
More information: <http://recherche.univ-montp3.fr/cahiers/>