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CFP: Shakespeare and Performance

 

The Shakespeare Conference: SHK 22.0311  Monday, 28 November 2011

 

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

Date:         November 27, 2011 12:53:09 PM EST

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
  • Street performance
  • Provincial performance
  • Performance of Guilds
  • Women and Performance
  • Boy’s companies
  • Current Productions of early modern plays
  • Shakespeare Festivals
  • Playing spaces
  • Actors and the text
  • Theatrical Gesture
  • Court Performances and Masques

 

Please submit double-spaced manuscripts in Times New Roman, 12 pt font that do not exceed thirty pages, 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  This e-mail address is being protected from spambots. You need JavaScript enabled to view it  for any queries. 

 

Best,

Sarah Farrell

Review Editor

Early Modern Studies Journal

 
Graham Hammill: UMD Renaissance Reckonings

 

The Shakespeare Conference: SHK 22.0310  Thursday, 24 November 2011

 

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

Date:         Tuesday, 22 Nov 2011 10:58:25 -0800

Subject:      Graham Hammill: UMD Renaissance Reckonings

 

UMD Renaissance Reckonings Presents

Graham Hammill, Department of English, SUNY-Buffalo, 

 

"The Spirit of Europe: Political Theology from Shakespeare to Spinoza"

 

Friday, Dec. 2, 2011 at 2 pm

University of Maryland, College Park

3132 Tawes 

 

Graham Hammill is associate professor of English at SUNY-Buffalo and the author of Sexuality and Form: Caravaggio, Marlowe, and Bacon (Chicago, 2000). His talk will be drawn from his current book project, The Mosaic Constitution (forthcoming, Chicago, 2012), which explores how political writers from Machiavelli to Spinoza drew on Mosaic narrative to imagine constitutional forms of government.

 
Shakespeare Guild News

 

The Shakespeare Conference: SHK 22.0308  Sunday, 20 November 2011

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

Date:         Thursday, 17 Nov 2011 18:25:45 -0700

Subject:      Shakespeare Guild News

 

A couple of weeks ago the Shakespeare Guild launched its 2011-12 season with a broad-ranging conversation at The Players, a historic Gramercy Park institution that was founded by actor Edwin Booth. Our special guest was JOHN MILLER, a producer, biographer, and interviewer who has worked with and written about such artists as Dame Judi Dench, Sir John Gielgud, Sir Ralph Richardson, and Sir Peter Ustinov.

 

THE SHAKESPEARE GUILD invites you to welcome the holiday season with plays that will put you in a festive mood. One of them is in the Nation’s Capital, where the SHAKESPEARE THEATRE COMPANY is preparing a lively MUCH ADO ABOUT NOTHING. The other is FIASCO THEATER’S revival of CYMBELINE on Barrow Street in the West Village. 

 

FIASCO THEATER’S ‘CYMBELINE’

Through Sunday, January 1  

Barrow Street Theatre, 27 Barrow Street (at 7th Avenue)

 

Discounted Tickets at $49.50 (Regularly $75)

 

The award-winning producers of Our TownAugust: Osage CountyOthello, and last season’s Merchant of Venice have teamed up to present Fiasco Theater’s CYMBELINE, a New York Times Critics Pick, for an 18-week engagement under the auspices of Theatre for a New Audience. That stellar company has just opened a second show, FRAGMENTS, directed by Peter Brook and Marie-Helene Estienne from texts by Samuel Beckett, in association with the Baryshnikov Arts Center (visit www.tfana.org for details), and it is now reviving a late Shakespearean romance that garnered critical plaudits last season when it opened at the Duke Theatre on 42nd Street. CYMBELINE is directed by NOAH BRODY and BEN STEINFELD, and it is performed by six remarkable actors (Jesse Austrian, Noah Brody, Paul L. Coffey, Andy Grotelueschen, Ben Steinfeld, and Emily Young) who create magic on a bare stage with minimal sets and costumes. The New Yorker describes it as “a playful and inspired work of art,” and the New York Post extols a “charming production” that “makes crystal clear the endlessly convoluted plot developments” of one of Shakespeare’s most rarely performed works. To order tickets at the discounted rate, visit www.smarttix.com/Show.aspx?ShowCode=CYM6 or call 212-868-4444, citing code TFA495.

 

THE STC’S ‘MUCH ADO ABOUT NOTHING’

November 25 – January 1  

Sidney Harman Hall, 610 F Street NW in Washington

 

Discounts of at Least 20% for Groups of 10 or More

 

Set on a 1930s sugar plantation in sultry Cuba, the Shakespeare Theatre Company’s upcoming MUCH ADO ABOUT NOTHING promises to be a delightful escape from any doldrums that may have blown in with the early-winter cold. Everyone in the Messina of Shakespeare’s play can see that Beatrice and Benedick are meant for each other except for the witty couple themselves. So the newly betrothed Hero and Claudio join a conspiracy to trick them into acknowledging their true feelings. Meanwhile, a bitter Don John schemes to persuade a naïve bridegroom that his beloved has compromised her honor. Touted by The Washingtonian as “one of the hottest directors” in America, ETHAN MCSWEENY directs one of Shakespeare’s most popular romantic comedies. The STC sales office will be happy to help you book great seats. For individual tickets, go to www.shakespearetheatre.org/tickets/index.aspx. For discounted group sales, call 202 546 1122, and select Option 6, or e-mail  This e-mail address is being protected from spambots. You need JavaScript enabled to view it

 

John F. Andrews

www.shakesguild.org 

 
Call for Papers

 

 

The Shakespeare Conference: SHK 22.0295  Thursday, 10 November 2011

 

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

Date:         November 10, 2011 4:18:51 AM EST

Subject:      Call for Papers

 

Call for Papers for the collection of essays: 

 

Shakespeare and the Italian Renaissance: Appropriation, Transformation, Opposition 

 

Edited by 

Michele Marrapodi 

 

This new collection of essays aims to place the works of Shakespeare within the context of the European Renaissance and, more specifically, within the context of Italian cultural, dramatic, and literary traditions, with reference to the impact and influence of both classical and contemporary culture. In contrast with previous studies, often characterized by a positivistic-deterministic hermeneutics and, consequently, by a largely passive analysis of source material or literary topoi, the new critical perspective pursued in this volume will take into account a wider European intertextual dimension and, above all, an ideological interpretation of the ‘aesthetics’ or ‘politics’ of intertextuality which will allow the analysis of the presence of the Italian world in early modern England not as a traditional treasure trove of influence and imitation but as a potential cultural force, generating complex processes of appropriation, transformation, and ideological opposition throughout a continuous dialectical interchange of compliance and subversion. 

 

Please send a 200-word abstract of the proposed chapter directly to the editor before 29 February 2012. 

 

Prof. Michele Marrapodi

Dipt. (FIERI-AGLAIA) Filosofia, Filologia, Storia, Arti, Critica dei Saperi

Facoltà di Lettere e Filosofia

Viale delle Scienze

90128 Palermo, Italy

Email: This e-mail address is being protected from spambots. You need JavaScript enabled to view it

 
Early Modern Theatricality in the 21st Century

 


The Shakespeare Conference: SHK 22.0293  Wednesday, 9 November 2011

 

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

Date:         November 8, 2011 9:57:28 PM EST

Subject:      Early Modern Theatricality in the 21st Century

 

Colleagues,

 

The conference below may be of interest to some list members. Please feel free to circulate the announcement and poster. There is no registration fee, but the reception and dinner requires an RSVP by November 15.

 

Best,

Erika T. Lin

Assistant Professor

Department of English

George Mason University

4400 University Dr., MSN 3E4

Fairfax, VA 22030

 

==========

 

Early Modern Theatricality in the 21st Century

A Conference at Rutgers University

Thursday, December 1 and Friday, December 2, 2011

 

Early Modern Theatricality in the 21st Century brings twenty-five leading scholars to Rutgers for a summit on the state of the field, inviting them to test out new methods for capturing the full event of theatre and its immense imaginative resources. Panelists will examine the clusters of techniques, objects, bodies, conventions, signs, and other significant elements that characterized early modern  performance and that extended beyond the public theaters to public entertainments and spectacles of all types, from the Tudor period to the Restoration. Organized in plenary roundtable format with generous time for collective discussion, the conference will present an exploded view of theatricality across a broad period, isolating functional parts, magnifying them for analysis, and integrating them into rigorous, conceptually adventurous statements that aim to provoke a re-discovery of early modern drama in all its formal complexity and wild profusion.

 

Attendance is free and open to the public.

 

Sponsored by the Rutgers British Studies Center, the Program in Early Modern Studies, and the Center for Cultural Analysis.

 

For more information, see http://earlymoderntheatricality.com

 
Early Modern Theatricality in the 21st Century Poster:  icon Theatricality21stPoster
 
New to Papers for Comments

 

The Shakespeare Conference: SHK 22.0292  Wednesday, 9 November 2011

 

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

Date:         Wednesday, November 9, 2011

Subject:      New to Papers for Comments

 

As a service to its members, SHAKSPER makes selected papers for which the author would like comments available for a short time on the SHAKSPER server at the Scholarly Papers for Comments section: http://shaksper.net/scholarly-resources/scholarly-papers-for-comments

 

The following play has just been uploaded to the Scholarly Papers for Comments section of the web site: The Alchemist’s Tragedy by Jay Alan Quantrill < This e-mail address is being protected from spambots. You need JavaScript enabled to view it >.

 

Jay Alan Quantrill has supplied this Abstract.

 

ABSTRACT: William Shakespeare is the central figure of this play.  Obviously, (with some much needed humility) my conception of him. And of course, my conception of him only at a particular time in his life.  To call this moment a mid-life crises would be to equate Will with a used car salesman of our day, or a clerk at the Inns of Court in his.  That’s not how I see him. 

 

But it is a crisis, however far beyond his mid-life he is at 43. A crisis of art and faith: his art because he’d begun to lose faith in his subject – mankind.  Faith in god?  He’s long past that. Though he dare not admit such treason to a breathing soul. But faith in the worthiness or goodness of man, or any reason to hope for improvement? None. And that’s a tragedy, at least it was for my appreciation of Shakespeare in 1609.

 

Will comes into the Globe Theatre even on cold mid-winter mornings with his anxiety stained on his fingertips – uneasy and under pressure, within and without.  He’s been jumping through theatrical hoops since he was twelve years old. He’s discontent with the hoops he’s designed recently, not sure he has another hoop on the horizon.

 

So here he comes, discontent, looking for hope or a worthy tale to tell, or trouble, any trouble, any thing to ignite his increasingly “sonnetted heart.” 

 

You should your comments directly to the author Jay Alan Quantrill < This e-mail address is being protected from spambots. You need JavaScript enabled to view it >; or if you wish, you may start a thread through the normal SHAKSPER channels by sending it to the list at This e-mail address is being protected from spambots. You need JavaScript enabled to view it .

 
 
Shakespeare Job Posting

The Shakespeare Conference: SHK 22.0280  Thursday, 27 October 2011

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

Date:         October 16, 2011 6:51:26 PM EDT

Subject:      Shakespeare Job Posting

 

Iona College

Assistant Professor of English

 

The English Department seeks to fill a tenure-track position at the rank of Assistant Professor, starting in August 2012, to teach courses in Shakespeare (undergraduate and graduate) as well as core courses in writing and literature. PhD required. The successful candidate will demonstrate a commitment to teaching in addition to promising scholarship. 4/4 load with one course remission per semester to serve as co-editor of The Shakespeare Newsletter.  Secondary areas of interest include Irish Literature and Film. Send cover letter and vita, including the names of three references (hard copy only), by November 16, 2011 to Dr. Laura Shea, Chair, Department of English, Iona College, 715 North Avenue, New Rochelle, NY 10801.   

 

Regards,

Laura Shea

Chair, Department of English

Iona College

 
 
Stage on Screen Ltd

The Shakespeare Conference: SHK 22.0279  Thursday, 27 October 2011

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

Date:         October 17, 2011 9:10:51 AM EDT

Subject:      From Phil Rees at Stage on Screen Ltd

 

We are a UK based company producing DVDs of Classic English Stage plays. We currently have no recordings of Shakespeare (it’s a crowded market), but we do concentrate on his contemporaries. We have released critically acclaimed recordings of Doctor Faustus, Volpone, and The Duchess of Malfi, and in the New Year hope to be producing and recording The Spanish Tragedy and The White Devil – if sufficient quantities of stage blood can be purchased in time . . . 

 

We launch officially in the US on November 22nd, as you’ll see from the Press release attached. 

 

Yours sincerely,

Phil Rees

 

Press Release: icon Stage on Screen Press Release

 
 
Special Issue of Early Theatre (Dec 2011)

The Shakespeare Conference: SHK 22.0278  Thursday, 27 October 2011

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

Date:         October 16, 2011 12:09:46 AM EDT

Subject:      Special Issue of Early Theatre (Dec 2011)

 

Forthcoming Special Issue of Early Theatre (14:2)

Circles and Circuits: Drama and Politics in the Midlands

 

Guest editors: Mary Polito and Amy Scott

 

In 2004, many scholars were aware of the book of four anonymous, undated manuscript plays held at Arbury Hall Warwickshire; very few had read them. In that year another manuscript version of one of those plays was discovered in the Special Collections Library at the University of Calgary. Led by scholars at Calgary, a team of national and international faculty and graduate students have been investigating the provenance and significance of these decidedly Caroline plays. They point to literary circles in the midlands, probable country house performances, careful political critiques of the personal rule and ‘circuits’ that pay heed to estates, the authority of patrons and the mobility of people and ideas.

 

Contents:

 

Kirsten Inglis and Boyda Johnstone          

‘The Pen lookes to be canoniz’d’: John Newdigate III, Author and Scribe   

 

Siobhan C. Keenan                

Staging Roman History, Stuart Politics, and the Duke of Buckingham: The Example of The Emperor’s Favourite   

 

Margaret Jane Kidnie            

Trying to be Diplomatic: Editing The Humorous Magistrate     

 

Louis A. Knafla                      

The Magistrate — and Humorous Magistrates — in Early Seventeenth-Century England        

 

Vimala C. Pasupathi              

Jockeying Jony: Horse-Racing and Regional Identity in The Humorous Magistrate   

 

Laura Estill                             

Politics, Poetry, and Performance: The Miscellaneous Contents of Arbury Hall MS 414   

 

Paul L. Faber                         

Imported Popular Song in The Humorous Magistrate: 'The Noble Acts of Arthur of the Round Table' and  'Come Heare, Lady Muses'

 

Owen Stockden                      

John Newdigate III, Gilbert Sheldon, and MS A414 106r            

 

Amy Scott                               

Events and Texts: The Prologues and Epilogues for the Arbury Hall 414 Plays         

 

Mary Polito                            

‘this rare Poetesse’: the Remains of Lady Jane Burdett

 

 

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

Editor, Early Theatre

Professor, English and Cultural Studies

McMaster University

Hamilton ON L8S 4L9  

Canada

 
 
Stylistics and Shakespeare's Language

The Shakespeare Conference: SHK 22.0277  Thursday, 27 October 2011

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

Date:         October 15, 2011 11:11:06 AM EDT

Subject:      Stylistics and Shakespeare's Language

 

Dear colleagues,

 

We are glad to inform you that Stylistics and Shakespeare's Language --

Transdisciplinary Approaches has been published by Continuum in the

Advances in Stylistics Series.

 

Editors: Mireille Ravassat (Valenciennes University, France) and Jonathan

Culpeper (Lancaster University, UK). See link below.

 

Table of contents

 

Introduction Mireille Ravassat and Jonathan Culpeper

 

Chapter 1: 'Strange deliveries': Contextualizing Shakespeare's First

Citations in the OED

Giles Goodland

 

Chapter 2: Shakespeare's Vocabulary: Did it Dwarf All Others?

Ward E. Y. Elliott and Robert J. Valenza

 

Chapter 3: A New Kind of Dictionary for Shakespeare's Plays: An Immodest Proposal

Jonathan Culpeper

 

Chapter 4: 'If I break time': Shakespearean Line Endings on the Page and

the Stage

Peter Kanelos

 

Chapter 5: Subject-Verb Inversion and Iambic Rhythm in Shakespeare's

Dramatic Verse

Richard Ingham and Michael Ingham

 

Chapter 6: Shakespeare's 'Short' Pentameters and the Rhythms of Dramatic Verse

Peter Groves

 

Chapter 7: Wholes and Holes in the Study of Shakespeare's Wordplay

Dirk Delabastita

 

Chapter 8: 'a thing inseparate/Divides more wider than the sky and

earth' - of Oxymoron in Shakespeare's Sonnets

Mireille Ravassat

 

Chapter 9: 'Rue with a difference': a Computational Stylistic Analysis of

the Rhetoric of Suicide in Hamlet

Thomas Anderson and Scott Crossley

 

10: Shakespeare's Sexual Language and Metaphor: a

Cognitive-Stylistic Approach

José L. Oncins-Martínez

 

Chapter 11: Cognitive Interplay: How Blending Theory and Cognitive Science

Reread Shakespeare

Amy Cook

 

More details and preview:

http://www.continuumbooks.com/books/detail.aspx?BookId=158639&SubjectId=989&Subject2Id=1655

 

Best regards,

Mireille Ravassat and Jonathan Culpeper

 
 
Korean Tempest Coming to DC, Nov 4-5

The Shakespeare Conference: SHK 22.0276  Thursday, 27 October 2011

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

Date:         October 12, 2011 2:33:51 AM EDT

Subject:      Korean Tempest Coming to DC, Nov 4-5

 

The George Washington University in Washington, D.C., will host the renowned Korean director Oh Tae-suk and screen his award-winning production of The Tempest

 

Friday, November 4, 2011, 4 p.m.–6 p.m.: The Tempest, dir. Oh Tae-suk, Mokwha Company, Seoul, South Korea

 

OPENING REMARKS by DAVID SCHALKWYK, Director of Research, Folger Shakespeare Library, and Editor of Shakespeare Quarterly

 

Saturday, November 5, 2011, 8:30 a.m.–3:30 p.m.: Colloquium on "Staging Korea"

 

EVENTS on both days are held in the Harry Harding Auditorium, 1957 E Street, NW, Washington, DC 20052  (nearest metro station: Foggy Bottom-GWU)

 

The event celebrates the beauty of Korean performance traditions. Distinguished scholars and directors will discuss performances in South Korea, North Korea and in the Korean Diaspora, and the internationalization of Korean theatre. The highlight of this year's event is the visit of Master Oh Tae Suk from Seoul (http://youtu.be/btv83vpFP_E), and on the eve of the Colloquium, the screening of his award-winning production of Shakespeare’s The Tempest (Herald Angel’s Award at the 2011 Edinburgh International Arts Festival), to be followed by a Q&A session. 

 

Co-sponsored by GW’s Columbian College of Arts and Sciences, Sigur Center for Asian Studies, Institute for Ethnographic Research, Department of East Asian Languages and Literatures, Department of Theatre and Dance, Film Studies Program, and Medieval and Early Modern Studies Institute (MEMSI); the Korean Embassy; and the Korea Foundation. http://www.gwu.edu/~eall/hms

 

RSVP Lunch is served. This event is free and open to the public. Reservations are required for the Colloquium (but not for film screening). RSVP with your name, affiliation, address, and phone number, and e-mail to  This e-mail address is being protected from spambots. You need JavaScript enabled to view it .

 
 
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