American Shakespeare Center Pre-Term Teacher Seminar
The Shakespeare Conference: SHK 22.0186 Wednesday, 3 August 2011
From: Hardy Cook <
Date: August 3, 2011 2:02:08 PM EDT
Subject: American Shakespeare Center Pre-Term Teacher Seminar
ASC Education Hosts Special Pre-Term Teacher Seminar
On Friday, August 12th, ASC Education will host a special, one-day Teacher Seminar focused on Julius Ceasar and techniques for teaching Shakespeare.
We’ve heard from many of our fellow educators that Julius Caesar is a play that challenges students’ engagement and teachers’ enthusiasm. After all, what possible relevance can a bunch of ancient Romans declaiming at each other have for modern teenagers? The answer: quite a bit.
Our activities will open avenues to teaching through performance without requiring that you be a director or your students be actors.
This seminar will also give you a sneak-peek at some of our new Study Guides.
Shakespeare Inside-out British Shakespeare Association Conference 2012
The Shakespeare Conference: SHK 22.0184 Wednesday, 3 August 2011
From: Alison Findlay <
Date: August 1, 2011 1:11:42 PM EDT
Subject: Shakespeare Inside-out British Shakespeare Association Conference 2012
Shakespeare Inside-out: Depth-Surface-Meaning
British Shakespeare Association
10th Anniversary Conference
24-26 February 2012
Conference programme includes performances of Much Ado About Nothing (Lancaster Castle) and Love's Labour's Lost (Northern Broadsides); academic speakers Professor Jean E. Howard; Professor R. S. White; Professor Stuart Sillars; Professor Andrew Gurr; theatre, teaching workshops and panels with Barrie Rutter (Northern Broadsides); John Russell Brown; directors, designers, actors (Demi-Paradise productions)
Contact: Professor Alison Findlay
Shakespeare's texts produce meaning by turning insides out. We are drawn into the plays and poems from the outside through surfaces: books, screens, words, objects, costumes, the surfaces of actors' faces and bodies, retellings or adaptations, teaching spaces and theatres, and via our experiences of immediate effects like music, laughter, tears, movement. The texts, meanwhile, turn deep human questions, emotions, subjectivities outwards by projecting them as words and performance. This conference will ask how the relationship between surface and depth operates in Shakespeare's work. How does it function in different types of performance practice from live theatre to film? In the traces of the past that have come down to us? And in our practices as teachers and critics? The conference will explore 'the deep value of surfaces' (Shusterman), the dynamic relationship between surface and depth across a range of practices: reading, watching, editing, teaching, performing.
Proposals (150 words) for panels, papers, workshops or presentations on any aspect of the topic are welcomed from across the membership of the BSA by 1 October 2011 (
Areas we might address include:
How are emotions represented, invoked and experienced in and through Shakespeare's texts?
How do superficial artefacts used in performance or printing such as costume and props, illustrations, type, decorations, bookcovers act as 'talismans' for different kinds of engagement with Shakespeare?
How do rituals and ceremonies in Shakespeare work as superficial orderings of emotion and violence?
Do Shakespeare's texts offer 'deeper' rewritings of source texts or do the inter-textual relationships themselves deserve more in-depth study than they have received to date?
How do adaptations or retellings of Shakespeare act as gateways to and from the texts?
Does music in Shakespearean performances add depth or is it the 'icing on the cake'?
How much deeper can we dig behind the fairly sparse documentation of early modern theatre practices - playing and watching?
Do pedagogical preferences for 'deep' rather than 'surface' learning apply equally well to the teaching of Shakespeare?
Does learning about Shakespeare happen on an immediately-measurable level or at more intangible cognitive, affective and spiritual levels?
Is it possible (or even desirable) to quantify what goes on as the result of a performance, a film, a teaching session?
Professor Alison Findlay
Professor of Renaissance Drama
Department of English & Creative Writing
To see or download Conference Poster, click here Shakespeare Inside-out Poster (299.38 kB)
The Shakespeare Conference: SHK 22.0178 Monday, 1 August 2011
From: Michael Stapleton <
Date: August 1, 2011 8:57:33 AM EDT
Subject: CFP: Marlowe Studies
Call for Papers
Marlowe Studies: An Annual
We are actively seeking essays on scholarly topics directly related to Christopher Marlowe and his role in the literary culture of his time for our 2012 issue. Especially welcome are studies of the plays and poetry; their sources; relations to genre; lines of influence; classical, medieval, and continental contexts; performance and theater history; textual studies; the author’s professional milieu and place in early modern English poetry, drama, and culture.
For contributors’ guidelines, see our website: http://marlowestudies.org
For inquiries, our email address is
M. L. Stapleton
Chapman Distinguished Professor of English
Editor, Marlowe Studies: An Annual
Department of English and Linguistics
Indiana University-Purdue University, Fort Wayne
2101 E. Coliseum Blvd.
Fort Wayne, Indiana 46805-1499
SHAKSPER: The Global Shakespeare Discussion List
Hardy M. Cook,
The SHAKSPER Web Site <http://shaksper.net>
DONATION: Consider making a donation to support SHAKSPER: shaksper.net.
DISCLAIMER: Although SHAKSPER is a moderated discussion list, the opinions expressed on it are the sole property of the poster, and the editor assumes no responsibility for them.
Current Postings and Announcement RSS Feeds
The Shakespeare Conference: SHK 22.0145 Thursday, 7 July 2011
From: Hardy M. Cook <
Date: Thursday, July 7, 2011
Subject: Current Postings and Announcement RSS Feeds
Anyone wishing to can now subscribe to either or both the SHAKSPER Current Postings or Announcements RSS Feeds at the web site: shaksper.net.
New Entries in Lexicons of Early Modern English
The Shakespeare Conference: SHK 22.0140 Thursday, 7 July 2011
From: UTP Journals <
Date: July 7, 2011 9:07:01 AM EDT
Subject: New Entries in Lexicons of Early Modern English
Lexicons of Early Modern English (LEME) - http://leme.library.utoronto.ca/
Locating historical references and accessing manuscripts can be difficult with countless hours spent searching for a single text for the sparsest of contributions to your research.
Lexicons of Early Modern English is a growing historical database offering scholars unprecedented access to early books and manuscripts documenting the growth and development of the English language. With more than 580,000 word-entries from 175 monolingual, bilingual, and polyglot dictionaries, glossaries, and linguistic treatises, encyclopedic and other lexical works from the beginning of printing in England in 1702, as well as tools updated annually, LEME sets the standard for modern linguistic research on the English language.
Use Modern Techniques to Research Early Modern English!
§ 175 Searchable lexicons
§ 121 Fully analyzed lexicons
§ 581 527 Total word entries
§ 361 178 Fully analyzed word entries
§ 60 891 Total English modern headwords
Recently added to LEME
John Ray's A Collection of English Words not Generally Used (London, 1674), a group of specialized glossaries with 2,128 word-entries. They explain dialectal words, southern and northern, words for fishes and birds, and terms of art in mining.
Coming soon to LEME
Peter Levins' Manipulus Vocabulorum (London, 1570), a dictionary of 8,940 English-Latin word-entries, organized by English rhyme-endings (with accentuation). This analyzed text owes much to Huloet (added in 2009) and replaces the simple transcription now in the LEME database.
John Rider's Bibliotheca Scholastica, an English-Latin dictionary first published by the University of Oxford in 1589.
Catholicon Anglicum (ca. 1475), an English-Latin dictionary from Lord Monson's manuscript, reconstructed from a 19th-century Early English Text Society edition. The earliest such lexicon surviving in the language holding some 7,180 word-entries, distinguishes itself by the extensive use of Latin synonyms in explanations.
There are two versions of LEME, a public one and a licensed one. The public version of LEME allows anyone, anywhere, to do simple searches on the multilingual lexical database. The licensed version of LEME is designed as a full-featured scholarly resource for original research into the entire lexical content of Early Modern English.
LEME is designed as a full-featured scholarly resource that allows you to search the entire lexical content of Early Modern English. It provides exciting research opportunities for linguistic historians through the following powerful features:
§ Searchable word-entries (simple, wildcard, Boolean, and proximity)
§ Documentary period database of more than 10,000 works from the Early Modern era
§ Large primary bibliography of more than 1,000 early works known to include lexical information
§ Browseable page-by-page transcriptions of lexical works
§ A selection list of editorially lemmatized headwords unique to each lexical text
§ Continually updated new dictionaries, glossaries, and tools each year
For more information, please contact
University of Toronto Press
5201 Dufferin St., Toronto, ON,
Canada M3H 5T8
tel: (416) 667-7810 fax: (416) 667-7881
Fax Toll Free in North America
UTP Journals on Facebook and twitter
Join us for advance notice of tables of contents of forthcoming issues, author and editor commentaries and insights, calls for papers and advice on publishing in our journals. Become a fan and receive free access to articles weekly through UTPJournals focus.
posted by T Hawkins, UTP Journals
[Editor’s Note: I am a long-time user of LEME and its predecessor. LEME is an invaluable addition to the OED and especially useful in annotating. --HMCook]
CFP: Shakespeare: BSA Journal
The Shakespeare Conference: SHK 22.0138 Sunday, 3 July 2011
From: Alexander Huang <
Date: July 2, 2011 2:02:45 PM EDT
Subject: CFP: Shakespeare: BSA Journal
CALL FOR PAPERS
Shakespeare: Journal of British Shakespeare Association (Special Issue)
Deadline: September 30, 2011
The special issue welcomes papers on Shakespeare in performance in the twentieth and twenty-first centuries that participate in or initiate debates—theory, praxis, reception—worldwide. During his lifetime, Shakespeare’s plays were performed in Europe and subsequently taken to remote corners of the globe, including Sierra Leone, Socotra, and colonial Indonesia. Performances in England also had a global flair. European visitors such as Thomas Platter witnessed the plays on stage at the Globe (1599) and left behind diary records. Four centuries on, there has been a sea change. In theatre, Shakespeare has been recruited, exemplified, resisted, and debated in post/colonial encounters, in the international avant-garde led by Ariane Mnouchkine, Ninagawa Yukio, Peter Brook, and others, and in the circuits of global politics and tourism in late capitalist societies.
As artists reconstruct various traditions, critics are also troubling narrowly defined concept of cultural authenticity. What are the new paradigms that can help us avoid replicating the old author-centered textuality in performance criticism? What critical resources might we bring to the task of interpreting the behaviors and signs in performance? What is the role of local and global spectators? More importantly, what is the task of criticism as it deals with the transformations of Shakespeare and various performance idioms?
Research articles in this issue will take stock of the worldwide histories of performance and criticism to uncover any blind spots in current methodologies to study the theoretical and artistic implications of Shakespeare and the cultures of diaspora, the U.S., U.K., Canada, Australia, New Zealand, Commonwealth countries, Europe, Russia, Africa, the Arab world, Asia, Latin America, and elsewhere.
In addition, this issue will also feature a section devoted to recent adaptations in English and other languages, including but not limited to those staged and screened during the 2011 Shakespeare Association of America annual meeting in Bellevue: The Bond (dir. Lu Boshen), a Chinese opera adaptation of The Merchant of Venice, and The Prince of the Himalayas (dir. Sherwood Hu), a Tibetan film inspired by Hamlet.
We invite two types of submissions --
• Research article: criticism (5,000-8,000 words)
• Short performance reviews (1,000-2,000 words)
Please follow the Journal's Instructions for Authors:
Submissions--WORD (.doc) file, double-spaced, 12-point font; no .docx files please--or queries to be emailed to Alex Huang at the following address:
The Shakespeare Conference: SHK 22.0136 Friday, 1 July 2011
From: Juan F. Cerdá <
Date: July 1, 2011 11:43:18 AM EDT
Subject: Shakespeare and Tyranny
SHAKESPEARE AND TYRANNY:
AN INTERNATIONAL SYMPOSIUM
University of Murcia, Spain
16-18 January 2012
NEW DATES & EXTENDED DEADLINE
Work on the reception of Shakespeare under different types of tyrannical government (absolutist, dictatorial, etc.) has reached remarkably similar conclusions as to how that reception came about. Carefully regulated attitudes to, and practices in, Shakespeare criticism, performance, translation and adaptation, and of course the aesthetico-ideological structures of centralized, all-seeing state apparatuses, have been shown to follow analogous patterns and to pursue similar, if often unachievable, goals. The symposium, which is organized by Murcia University’s research team “Shakespeare’s presence in Spain within the framework of his reception in Europe” (https://www.um.es/shakespeare), invites contributions from scholars, translators and theatre practitioners with an interest in the appropriation of Shakespeare’s work in different tyrannical contexts. Among the many topics that might be usefully pursued are:
- The role of censorship and self-censorship in the revision and production of Shakespearean material
- Institutional controls on the dissemination and publication of Shakespeare’s work
- Assumptions and techniques in the staging of Shakespeare’s plays
- State intervention in the elaboration of a Shakespeare ‘canon’
- The role of Shakespeare in the construction of identity under tyranny
- Overcoming the subversion/containment paradigm
If you are interested in taking part in this symposium, please send a brief abstract of the paper you intend to give (250-300 words) and an even briefer biog indicating institution and country of origin, line of work, chief research interests, etc., to
. The new deadline for the receipt of abstracts is 31 July 2011.
EARLY THEATRE 14.1 (2011)
The Shakespeare Conference: SHK 22.0130 Thursday, 23 June 2011
From: H M Ostovich <
Date: June 22, 2011 10:44:16 AM EDT
Subject: EARLY THEATRE 14.1 (2011)
Early Theatre's next issue will be available this month. For additional information on Submissions and Subscriptions, please see our website at http://digitalcommons.mcmaster.ca/earlytheatre/
ANNOUNCEMENT OF PRIZE WINNERS
SPECIAL ISSUE 15.1 CALL FOR PAPERS
The Animals in Chester’s Noah’s Flood
Lisa J. Kiser
How to Get from A to B: Fulgens and Lucres, Histrionic Power, and the Invention of the English Comic Duo
‘Sette on foote with gode Wyll’: Towards a Reconstruction of Robin Hood and the Sheriff of Nottingham
Alexis M. Butzner
The English Entertainment for the French Ambassadors in 1564
C. Edward McGee
Queen Elizabeth I’s Progress to Bristol in 1574: An Examination of Expenses
The Seven Deadly Sins and Theatrical Apprenticeship
James Robert Allard and Mathew R. Martin (eds), Staging Pain 1580-1800: Violence and Trauma in British Theater (Aldershot: Ashgate, 2009)
Reviewed by Lisa Dickson
Craig Dionne and Parmita Kapadia (eds), Native Shakespeares: Indigenous Appropriations on a Global Stage (Aldershot: Ashgate, 2008)
Reviewed by Yolana Wassersug
Will Fisher, Materializing Gender in Early Modern English Literature and Culture (Cambridge: Cambridge UP, 2006)
Reviewed by Emma Katherine Perry
Gabriel Heaton, Writing and Reading Royal Entertainments from George Gascoigne to Ben Jonson (Oxford: Oxford UP, 2010)
Reviewed by Elizabeth Zeman Kolkovitch
Peter Kanelos and Matt Kozusko (eds), Thunder at a Playhouse: Essaying Shakespeare and the Early Modern Stage (Cranbury NJ: Rosemount Publishing, 2010)
Reviewed by Helen Ostovich
Elizabeth Klett, Cross-Gender Shakespeare and English National Identity: Wearing the Codpiece (New York: Palgrave Macmillan, 2009)
Reviewed by Jami Rogers
Michael J. Redmond, Shakespeare, Politics, and Italy: Intertextuality on the Jacobean Stage (Aldershot: Ashgate, 2009)
Reviewed by Goran Stanivukovic
Celestine Woo, Romantic Actors and Bardolatry: Performing Shakespeare from Garrick to Kean (New York: Peter Lang, 2008)
Reviewed by Fiona Ritchie
Three Mid-June 'Tempests'
The Shakespeare Conference: SHK 22.0120 Monday, 13 June 2011
From: John F Andrews <
Date: Sunday, 12 Jun 2011 10:50:00 -0600
Subject: Three Mid-June 'Tempests'
Three Mid-June ‘Tempests’
On June 10-11, 2010, the FOLGER CONSORT presented two performances of a TEMPEST that had been devised and directed by actor RICHARD CLIFFORD, with music arranged and conducted by ROBERT EISENSTEIN, a co-founder of the Consort and a professor at Mount Holyoke College in Massachusetts.
For background, visit www.folger.edu/template.cfm?cid=3572.
A critical and box-office success, that program is now being revived for three presentations during the week ahead. One will take place at the JUILLIARD SCHOOL in Manhattan’s LINCOLN CENTER on Monday, June 13. The others will occur at the LENSIC PERFORMING ARTS CENTER in Santa Fe on Saturday, June 18, and Sunday, June 19.
Like the original Folger Consort event in 2010, all three shows will star SIR DEREK JACOBI as Prospero. One of the most celebrated classical actors of our era, Sir Derek has recently completed an acclaimed performance in King Lear, originating at the Donmar Warehouse in Covent Garden and concluding at BAM’s Harvey Theater in Brooklyn. Best known to most Americans for such television series as I, Claudius and Cadfael, Sir Derek recently portrayed the Archbishop of Canterbury in The King’s Speech, a film that garnered several Academy Awards, including Best Picture.
What many regard as Shakespeare’s most evocative drama is usually dated circa 1610. We can only guess about when it was first offered in playhouses such as the Globe and the Blackfriars, but we do know that a private Court presentation occurred in London’s Whitehall Palace on November 1, 1611.
Frequently updated in revivals, THE TEMPEST has inspired a plethora of songs, tone poems, operatic treatments, and incidental music. A number of those features highlight the version to be revived this month in New York and New Mexico. Drawing upon Thomas Shadwell’s staging of the play In 1674, this adaptation resonates with settings by such composers as John Banister, George Frederick Handel, Matthew Locke, and Antonio Reggio.
JUILLIARD’S ‘TEMPEST’ AT LINCOLN CENTER
MONDAY, JUNE at 7:00 p.m.
155 West 65th Street, Manhattan
For Benefit Tickets ($75-$125), call (212) 799-5000, ext. 329
For Balcony Tickets ($50), call (212) 721-6500
In addition to Sir Derek Jacobi, the Juilliard TEMPEST will feature Richard Clifford and Monica Raymund in speaking parts. Its principal singing roles will be performed by countertenor David Daniels and baritone Bob McDonald, both of whom were in the original Folger Consort cast in June of 2010. For those who can’t attend but wish to hear this vibrant concert, it will be webcast live at 7:00 Eastern time over www.wqxr.org. Visit www.juilliard.edu for more information about the casting.
A SPECIAL TIERRA-NUEVA ‘TEMPEST’ FOR SANTA FE
SATURDAY, JUNE 18, at 7:30 p.m.; SUNDAY, JUNE 19, at 4:00 p.m.
LENSIC PERFORMING ARTS CENTER, 225 San Francisco, Santa Fe
For Tickets ($20-$50), call (505) 988-1234 or visit www.lensic.org
To celebrate the 10th anniversary of the LENSIC PERFORMING ARTS CENTER, and the 80th anniversary of the beautiful theater that opened on that site in 1931, these two performances that will also mark a pair of other milestones: the 400th anniversary of the 1611 Whitehall presentation of THE TEMPEST, and the quarter-centenary of a new-world capital that was being founded at the same time that Shakespeare and his companions were introducing one of their most evocative dramas to London audiences. Sir Derek Jacobi will play Prospero in a concert that will feature mezzo-soprano Deborah Domanski, baritone David Farwig, and the SANTA FE PRO MUSICA ensemble under the direction of Tom O’Connor. The Guild’s John Andrews will host a 20-minute discussion with Richard Clifford and Sir Derek Jacobi immediately after the Saturday night presentation.
See the SHAKESPEARE GUILD Current Events page for details about the Santa Fe Tempest.
John F. Andrews
5B Calle San Martin
Santa Fe, NM 87506
WAMU 88.5 and Lean & Hungry Theater "A Midsummer Night's Dream"
The Shakespeare Conference: SHK 22.0119 Monday, 13 June 2011
From: Hardy Cook <
Date: Monday, 13 Jun 2011 05:00:46 -0500 (CDT)
Subject: WAMU 88.5 and Lean & Hungry Theater "A Midsummer Night's Dream"
At 6 p.m., Sunday, June 26, WAMU 88.5 and Washington's only radio drama company, Lean & Hungry Theater, will present a special live-to-air broadcast of Shakespeare's classic comedy "A Midsummer Night's Dream" at American University's Woods-Brown Amphitheater. Set in the Prohibition Era, Lean & Hungry's "A Midsummer Night's Dream" will recast many of Shakespeare's classic characters as gangsters and molls, with most of the action in and around the Palace Hotel. The story of beguiled young lovers, vengeful mobster kingpins, and slapstick laborers culminates with a hilarious "play-within-a-play" climax. Join the audience for this one-hour production, which will be broadcast live on WAMU 88.5 at 6 pm. Audience members are invited to stay after the performance for Lean & Hungry's "Food for Thought" discussion and audience interaction focusing on the relevance of "A Midsummer Night's Dream" in literature and contemporary society. Tickets for the live event are $25. Seating is general admission. The rain venue for this event is the Katzen Arts Center's Abramson Recital Hall located on the campus of American University. For more information and directions to the Woods-Brown Amphitheater, go to wamu.org