CFP: Shakespearean Reverie, 6-8 October
The Shakespeare Conference: SHK 22.0109 Wednesday, 8 June 2011
From: Laurie Johnson <
Date: June 6, 2011 8:49:20 PM EDT
Subject: CFP: Shakespearean Reverie, 6-8 October
Second CFP: “Shakespearean Reverie” (Toowoomba, Australia, 6-8 October, 2011)
The Shakespeare in the Park Festival is a highlight on the cultural calendar of the scenic Darling Downs in Queensland, Australia. In 2011, the Festival has moved to October, to follow the famous Carnival of Flowers, making the parkland venue even more appealing than ever before. For the first time, an academic conference is being held in conjunction with the Festival on 6-8 October, 2011. The symposium theme is Shakespearean Reverie. Confirmed keynotes for this event are:
Mary Floyd-Wilson(North Carolina), author of English Ethnicity and Race in Early Modern Drama
Paul Yachnin(McGill), former President of the Shakespeare Association of America and author of The Culture of Playgoing in Shakespeare’s England: A Collaborative Debate (with Anthony Dawson), and Stage-wrights: Shakespeare, Jonson, Middleton and the Making of Theatrical Value
In the year that the Shakespeare-in-the-Park performance will focus on A Midsummer Night’s Dream, it seems appropriate to reflect on the theme of “reverie” in Shakespeare’s theatre. In our world, “reverie” captures the idea of being lost in thought, even daydreaming, and we get this sense of the word from the early moderns. But in many other senses in which the term “reverie” is now obsolete, the early moderns also understood it as something less fanciful. In its French origins, “reverie” denoted madness, wildness, uncontrollable rage or, for that matter, uncontrollable delight, revelry and absurdity. We welcome presentations that treat any of these aspects of early modern “reverie” in Shakespeare’s theatre, including, for example:
Revelry and the public theatre companies;
Representations of wildness, the grotesque, or supernatural;
Early modern cognition and dreaming;
Performance of the passions and the actor’s body;A Shakespearean theatre of the absurd.
Given the focus of this year’s Shakespeare-in-the-Park Festival, we are particularly keen to run a special stream on A Midsummer Night’s Dream, so papers on this play are especially welcome, although we are certainly happy to include papers on other plays or historical phenomena. We invite abstracts (300 words maximum) for papers of 20 minutes duration or proposals for panels on any aspect of the theme of “Shakespearean Reverie,” to be submitted by 24 June, 2011, via email to:
Dr Laurie Johnson
Senior Lecturer in English Literature and Cultural Studies
School of Humanities and Communication
and The Public Memory Research Centre
Faculty of Arts
University of Southern Queensland
Toowoomba QLD 4350
Phone: 07 4631 1739
Fax: 07 4631 1063
Shakespeare's Globe Screenings in the U.S.
The Shakespeare Conference: SHK 22.0103 Saturday, 4 June 2011
From: Patty Winter <
Date: June 3, 2011 3:35:46 PM EDT
Subject: Shakespeare's Globe Screenings in the U.S.
Several U.S. movie theater chains—including AMC, Cinemark, and Regal— are about to start showing performances from Shakespeare’s Globe in London. The schedule so far is:
-Monday, June 27th ‹ The Merry Wives of Windsor
-Monday, August 1st ‹ Henry IV Part 1
-Thursday, August 18th ‹ Henry IV Part 2
-Thursday, September 15th ‹ Henry VIII
Note that, unlike the Metropolitan Opera broadcasts, these are pre-recorded; the ones being shown this summer were recorded in 2010. But they were indeed filmed at live performances, so they’re still fun. (If you aren’t familiar with the Globe, it has an area for groundlings, and sometimes they even extend the stage further into that area, so there’s sometimes interaction between the performers and the audience.)
If you go to this web page:
you can enter your ZIP code and see what theaters near you are carrying the series.
Perhaps if these screenings go well, those big chains will consider picking up the National Theatre Live broadcasts. I’ve been having to drive 40 miles to San Francisco to see them. Some of the NT Live plays are by Shakespeare (I saw Hamlet with Rory Kinnear and King Lear with Derek Jacobi earlier this year), so I urge you to contact those theater chains about picking up that series, too.
SHAKSPER: The Global Shakespeare Discussion List
Hardy M. Cook,
The SHAKSPER Web Site <http://www.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.
First Folio Exhibit at Folger Shakespeare Library
The Shakespeare Conference: SHK 22.0102 Saturday, 4 June 2011
From: Hardy M. Cook <
Date: Saturday, June 4, 2011
Subject: First Folio Exhibit at Folger Shakespeare Library
Subscriber might be interested in article that appeared in today’s Washington Post, which can be found online at this link:
A Major First Folio Exhibit Opens at the Folger Shakespeare Library
By Neely Tucker, Published: June 3
The Bard had it that “the play’s the thing.” Walking through the dark, cool corridors of the Folger Shakespeare Library, looking at copies, pristine and burned, of perhaps the most influential secular tome in the English language, it’s fair to wonder if the book isn’t sometimes the thing, too.
“Fame, Fortune, and Theft: The Shakespeare First Folio” is the Folger’s summer-long offering of its birthright: the world’s largest assembly of the 1623 book that was the first collection of Shakespeare’s plays. The exhibition, which began Friday and runs through Sept. 3, explores the history of the First Folio, explaining in the words of editors, owners, collectors, scholars and others how the collection’s significance grew throughout the world.
It is the Folger’s first major Folio exhibit in six years and the only one in the library’s history to include such a large grouping of them, 12 in all, library officials said.
The exhibition is composed of more than a dozen glass cases in the Great Hall, showing Folios, interactive maps that display the books’ paths across the world, the lengths that collectors (particularly Folger) went to get them, narrative details about famous Folio thefts, and how scholars document each copy as an original.
There were no more than a few hundred copies of the fabled First Folio ever made, perhaps 500 to 750 copies total, with printing errors aplenty and changes made on the fly, and that curious portrait of “Mr. William Shakespeare” on the title page. It was such a problematic press run that no two copies have ever been found to be identical.
“For the publishers, it was an enormous economic risk,” says Anthony James West, one of the show’s two curators. “A book exclusively composed of plays, of folio size? But for theater-going Londoners, this was an event. It showed how highly regarded Shakespeare was, even a few years after his death.”
The coffee-table-size First Folio, printed seven years after the Bard’s demise, saved such plays as “Macbeth,” “The Tempest,” “As You Like It,” “Julius Caesar” and “Antony and Cleopatra” from oblivion. Fewer than half of the 36 plays in the collection (nearly all of Shakespeare’s dramatic works) had appeared in print before, and those were in individual, quarto-size copies not much bigger than one’s hand.
Without the oversize, roughly 900-page First Folio, the world would have almost certainly forgotten many of Shakespeare’s creations. There would not be Caesar’s iconic line of betrayal, “Et tu, Brute,” still in currency nearly four centuries later. There would be no Lady Macbeth, and thus no classic oration of guilt (“Out, damned spot! Out, I say!”). And there would not be Macbeth’s bitter summation of life as “a tale told by an idiot, full of sound and fury, signifying nothing.”
Printed almost four centuries ago by a syndicate headed by the father-and-son duo William and Isaac Jaggard, the book became the definitive source for Shakespeare performance, research and appreciation. Although not particularly rare by antiquarian standards (232 copies are known to still exist, but only about a dozen are in excellent condition) and of fairly modest monetary value on the world market (partial copies start at about $400,000, great copies for up to $6.2 million), the collected plays have become one of the world’s most studied books.
Over the centuries, serious book and literary collectors simply had to have a copy. No one was more determined than Standard Oil executive Henry Clay Folger, who used his considerable fortune to build the world’s largest repository of First Folios in the late 19th and early 20th centuries. (The library has 82 copies; the next-largest collection has 12.)
The existing copies of the book — worn leather bindings, fading type — can be so seductive that West, the British co-curator, has spent the past quarter-century finding and describing copies still in existence, down to wrinkles on pages. A former management consultant, he found himself so entranced with tracking down First Folios around the globe that it nearly drained his bank account by the time he published his landmark census in 2003.
“I burned up all my savings,” he says in the Library’s Great Hall, offering a tour of the exhibition’s most coveted items. “I was an expert in finance, but I wasn’t watching my own exchequer.”
The book’s magnetism also extends to the criminal class, points out Owen Williams, the assistant director of the Folger Institute and the show’s other curator.
A middle-aged, attention-starved British man named Raymond Scott walked into the Folger one day in 2008, pretending to be a champagne-sipping dilettante who had happened across a copy of a First Folio at a friend’s home in Cuba. In reality, he was a man deeply in debt, holding a copy stolen from Durham University in England in 1998. The staff at the Folger, and West, a senior research fellow at the University of London, documented that it was the stolen copy and helped convict Scott of possessing stolen goods. This most recent, highly-publicized theft is chronicled in the exhibition. (The only other known thefts in the past century: The Owens College copy in Manchester, England, was taken in 1972 and has not been seen since. The Williams College copy in Massachusetts was stolen in 1940 and recovered a short time later.)
Among the book’s historic features is the Martin Droeshout engraving on the title page, commissioned by Shakespeare’s friends, that is one of only two images of the playwright considered to be authentic. But printing problems abounded over the two years the book was in production, and “Troilus and Cressida” was such a late addition to the publication that it caused “three distinct issues” of the First Folio to be produced, according to “Foliomania!” the show’s book-size publication.
[ . . . ]
Copies of the book began a slow migration out of England in the 18th century and today are spread throughout 12 countries. Most are in just four cities: Washington, New York, London and Tokyo. There are only three in the entire Southern Hemisphere.
[ . . . ]
SHAKSPER: The Global Shakespeare Discussion List
Hardy M. Cook,
The SHAKSPER Web Site <http://www.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.
2011 Blackfriars Conference Announcement
The Shakespeare Conference: SHK 22.0082 Thursday, 19 May 2011
From: Sarah Enloe <sarahe@americanshakespearecenter >
Date: Thursday, May 19, 2011
Subject: 2011 Blackfriars Conference Announcement
25 - 30 OCTOBER 2011, SIXTH BLACKFRIARS CONFERENCE
(Be there for the bear . . . or for the truancy)
Conference Registration is now open - Early Registration ends May 31st, 2011. If you wish to have your name included in the conference program, please register no later than October 1st, 2011.
Abstract Submission Form - Deadline May 31st, 2011
On odd numbered years since the first October the Blackfriars Playhouse opened, scholars from around the world have gathered in Staunton, during the height of the Shenandoah Valley’s famed fall colors, to hear lectures, see plays, and learn about early modern theatre. In 2011, the American Shakespeare Center’s Education and Research Department will once again host Shakespeareans, scholars and practitioners alike, to explore Shakespeare in the study and Shakespeare on the stage and to find ways that these two worlds – sometime in collision – can collaborate. Past conferences have included such notable scholars as Andrew Gurr, the “godfather" of the Blackfriars Playhouse, Tiffany Stern, Russ McDonald, Gary Taylor, Stephen Greenblatt, Roz Knutson, Tina Packer, and many more in five days full of activities.
Except for banquets, all events – papers, plays, workshops, – take place in the world’s only re-creation of Shakespeare’s indoor theatre, the Blackfriars Playhouse. This conference distinguishes itself from saner conferences in a variety of other ways. First, to model the kind of collaboration we think possible we encourage presenters to feature actors as partners in the demonstration of their theses. For instance, in 2009, Gary Taylor’s keynote presentation “Lyrical Middleton” featured ASC actors singing and dancing to the songs in Middleton’s plays. Second, we limit each paper session to six short papers (10 minutes for solo presentations, 13 minutes for presentations with actors). Third, we enforce this rule by ursine fiat – a bear chases from the stage those speakers who go over their allotted time. Delegates also attend all of the plays in the ASC fall season – Hamlet, Henry V, The Tempest, by Shakespeare, Tamburlaine by Christopher Marlowe, and The Importance of Being Earnest by Oscar Wilde – and, for the past several conferences, bonus plays written by their colleagues and performed by actors in the Mary Baldwin College MFA in Shakespeare in Performance program. The spirit of fun that imbues the conference manifests itself in the annual Truancy Award, for the sensible conferee who – visiting the Shenandoah Valley at the height of Fall – has the good sense to miss the most sessions.
The 2011 gathering will include a returning keynote speaker, Shakespearean scholar Tiffany Stern, author of essential performance studies such as Making Shakespeare, Rehearsal from Shakespeare to Sheridan, and Documents of Performance. Professor Stern’s work has played an influential role in the development of the American Shakespeare Center’s Actors’ Renaissance Season, and her presentations continue to inspire the further exploration of the plays of Shakespeare and his contemporaries in the ASC’s educational and artistic programming. We will invite our other speakers with an eye to other aspects of Shakespeare’s plays in performance such as playing the possibilities of rhetoric, playing in early modern theatres, early modern play audiences (then and now), metrical analysis, early modern rehearsal practice, early modern visual design, pedagogy (early modern and current practice and its influence on performance).
Since each conference expands on the activities of the preceding conferences, the 2011 incarnation will include thematic panels following each keynote address. The work of the conference always echoes in the work on stage at the Blackfriars Playhouse and in the American Shakespeare Center’s Research and Scholarship department, and it has provided the material for two books devoted specifically to essays from the conference (Inside Shakespeare, edited by Paul Menzer, and Thunder in the Playhouse, edited by Matt Kosusko and Peter Kanelos). Plans are already afoot to include papers from the upcoming conference in a third book.
ASC Education and Research extends this call for papers on any matters to do with the performance of early modern drama (historical, architectural, political, dramatical, sartorial, medical, linguistical, comical, pastoral) to all interested parties for our bi-annual conference to be held at the Blackfriars Playhouse in Staunton, Virginia, 25-30 October 2011. The deadline to submit your abstract is 31 May 2011.
Tiffany Stern: Author of Making Shakespeare, Rehearsal from Shakespeare to Sheridan, and Documents of Performance. Beaverbrook and Bouverie Fellow and Tutor in English, University College, Oxford; Professor of Early Modern Drama, Oxford University. Stern's current project is to complete two editions, George Farquhar’s Recruiting Officer (New Mermaids, A & C Black), and Richard Brome’s Jovial Crew (Arden Early Modern Drama). She is a general editor of the New Mermaids play series, and is on the editorial board of the journals Review of English Studies, Shakespeare, Shakespeare Bulletin, and Shakespeare Yearbook.
George T. Wright: Author of Shakespeare’s Metrical Art and Hearing the Measures: Shakespearean and Other Influences. Regents' Professor of English emeritus at the University of Minnesota.
Stephen Booth: Author of On the Value of Hamlet; Shakespeare's Sonnets, Edited with Analytic Commentary; King Lear, Macbeth, Indefinition, and Tragedy; and Precious Nonsense: The Gettysburg Address, Ben Jonson's Epitaphs on His Children, and Twelfth Night. Professor Emeritus of English literature at the University of California, Berkeley.
Barbara Hodgdon: Author of The Shakespeare Trade: Performances and Appropriations, The End Crowns All: Closure and Contradiction in Shakespeare’s History, and two books exploring Shakespeare’s Henry IV, Parts One and Two as texts and in performance; editor of the Arden 3 The Taming of the Shrew and co-editor of A Blackwell Companion to Shakespeare in Performance. Professor of English at the University of Michigan. Her current project is a book on Shakespeare, Performance and the Archive.
American Shakespeare Center
Director of Education
The American Shakespeare Center recovers the joy and accessibility of Shakespeare’s theatre, language, and humanity by exploring the English Renaissance stage and its practices through performance and education.
From New York to Santa Fe
The Shakespeare Conference: SHK 22.0081 Thursday, 19 May 2011
From: John F Andrews <
Date: Tuesday, 17 May 2011 14:07:11 -0600
Subject: From New York to Santa Fe
From New York to Santa Fe
In recent months SHAKESPEARE GUILD programs have provided opportunities for attendees to hear and meet such luminaries as F. Murray Abraham, Edward Albee, Tom Hulce, Anne Meara and Jerry Stiller, Ammon Shea and his wife Alexandra Horowitz, and Stanley Wells. We now invite you to join us for a staged reading of the latest script by director and dramatist ROBERT BRUSTEIN, for a conversation with celebrated novelist ARTHUR PHILLIPS, and for a pair of Tempest programs that place the spotlight on actors RICHARD CLIFFORD and SIR DEREK JACOBI.
DRAMATIST ROBERT BRUSTEIN’S ‘THE LAST WILL’
SUNDAY, MAY 22, at 7:00 p.m.
THE PLAYERS, 16 Gramercy Park South, Manhattan
No Admission Charge, But Reservations Requested
Founded by Edwin Booth, THE PLAYERS offers the perfect setting for New York’s inaugural staged reading of THE LAST WILL, a riveting drama that completes ROBERT BRUSTEIN’s remarkable trilogy about pivotal moments in Shakespeare’s life and career. A renowned director, teacher, and critic, Mr. Brustein founded both the Yale Repertory Theatre in New Haven and the American Repertory Theater at Harvard. He has won two George Nathan Awards and is now enshrined in the Theatre Hall of Fame. A long-time reviewer for Harper’s, The New Republic, and other periodicals, and now a regular contributor to The Huffington Post, he has seventeen nonfiction titles to his credit, among them The Theatre of Revolt, Letters to a Young Actor, and The Tainted Muse. His six previous plays include The English Channel and Mortal Terror. This event is being produced by artistic director Jan Buttram and her colleagues at ABINGTON THEATRE COMPANY, with Austin Pendleton as director, and it will feature such esteemed performers as Bill Camp (Shakespeare), Stephanie Ross Haberle (the playwright’s wife Anne), Merritt Janson (his daughter Susanna), Christi Nelson (his daughter Judith), Steven Skybell (Lawyer Collins), and John Douglas Thompson (Richard Burbage).
NOVELIST ARTHUR PHILLIPS DOES SHAKESPEARE
MONDAY, MAY 23, at 8:00 p.m.
NATIONAL ARTS CLUB, 15 Gramercy Park South, Manhattan
NAC Members Free, Guild Members $25, Others $30
A child actor, a jazz artist, a Harvard graduate, and a five-time Jeopardy champion, ARTHUR PHILLIPS is also an award-winning author whose first four novels – Prague (2003), Egyptologist (2004), Angelica (2007), and The Song Is You (2009) – have been Lauded by Kirkus, the Los Angeles Times, the New York Times, and other periodicals. A few weeks ago British reviewer Robert McCrum praised him in the Guardian. “I have been reading a ‘newly discovered’ Shakespeare, THE TRAGEDY OF ARTHUR, that’s going to cause a stir in the coming year. Said to have been first published as a quarto edition in 1597, Arthur predates Love’s Labours Lost and has been cleverly unearthed” and welcomed with “a ‘unique appreciation’ by Phillips, who has been described by the Washington Post as ‘one of the best writers in America.’ “ If you saw Stephen Greenblatt’s front-page remarks about this unique book in the May 1 New York Times Book Review, you’ll know those who take part in this conversation between Mr. Phillips and the Guild’s John Andrews are in for a rare treat.
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, we’re delighted to announce two performances that will also mark a pair of other milestones: the 400th anniversary of a Whitehall presentation of THE TEMPEST that occurred in November 1611, 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. Devised by RICHARD CLIFFORD (an actor who will be familiar to everyone who loves the films of Kenneth Branagh), in collaboration with Robert Eisenstein of the Folger Consort in Washington, this program will combine memorable dialogue from the original script with 17th-and 18th-century songs and instrumental settings inspired by it. Sir Derek is currently starring in a King Lear that has earned glowing reviews in both Covent Garden and Brooklyn. Before he and Mr. Clifford arrive in Santa Fe, they’ll be presenting their adaptation of The Tempest on June 13 at the Juilliard School in Lincoln Center.
For more about these and other SHAKESPEARE GUILD offerings, both past and future, including details about reserving space for coming attractions, click on the link below and visit our Current Events page.
John F. Andrews
5B Calle San Martin
Santa Fe, NM 87506
1611 Symposium, Rhodes College, November 10-11, 2011
The Shakespeare Conference: SHK 22.0076 Monday, 16 May 2011
From: Scott Newstok <
Date: Friday, 11 Mar 2011 16:23:31 -0600
Subject: 1611 Symposium, Rhodes College, November 10-11, 2011
On November 10-11, 2011, the Pearce Shakespeare Endowment at Rhodes College will host a symposium on the historical background and cultural legacy of the "King James" bible translation, in observance of its 400th anniversary.
On November 10, Robert Alter (UC-Berkeley) will deliver the keynote lecture on "The Question of Eloquence in the King James Bible." His visit will be co-sponsered by the Naseeb Shaheen Memorial Lecture of the University of Memphis Department of English, the Marcus Orr Center for the Humanities (MOCH), Rhodes College, and Christian Brothers University (CBU).
On November 11, invited symposium speakers include Robert Alter, Brian Cummings (Sussex), Hannibal Hamlin (Ohio State), Ena Heller (Museum of Biblical Art), and Naomi Tadmor (Lancaster). These scholars' visits will be co-sponsored by Rhodes College programs in Art, English, History, Religious Studies, and Search.
All of these lectures will be free and open to the public.
A series of 1611-related events are being planned throughout Memphis, from museum displays to musical performances to lectures at other institutions:
Please contact Scott Newstok (
) for further information.
ABOUT THE PEARCE SHAKESPEARE ENDOWMENT:
Thanks to the generosity of the late Dr. Iris Annette Pearce, Rhodes College enjoys an unusually wide range of Shakespeare-related resources. The Pearce Shakespeare Endowment was established in 2007 to enrich courses in Shakespeare and support events for the entire campus as well as the greater Memphis community. Dr. Pearce attended Rhodes College in the 1940s, when it was named Southwestern at Memphis, before graduating from Vanderbilt University. During World War II, she joined the women’s corps of the U.S. Naval Reserve (WAVES). As a medical student, she followed a long-established path in her family--where four generations of physicians preceded her. Yet she was also breaking new ground as a woman: she was one of only two female students in her University of Tennessee class; she served as the first female internal medicine resident at John Gaston Hospital (the Med); and she eventually became the director of the City of Memphis Hospitals while serving as a professor at UT. Her bequest generously continues to support her lifelong enthusiasm for Shakespeare. The late professor of Shakespeare studies at Rhodes, Dr. Cynthia Marshall, was instrumental in establishing preliminary planning for this bequest.
Announcement: Booking AFTLS for 2012/13
The Shakespeare Conference: SHK 22.0072 Friday, 13 May 2011
From: Actors from The London Stage <
Date: May 12, 2011 1:18:46 PM EDT
Subject: Announcement: Booking AFTLS for 2012/13
Now booking Fall 2012 or Spring 2013 AFTLS residencies!
The Merchant of Venice‚ September - November 2012
Hamlet‚ January - March 2013
Now is the best time to book an AFTLS 2012/13 residency.
Interested in our Spring 2012 tour of Twelfth Night? We would be happy to add week to the tour for your campus.
Contact us ASAP for details and special introductory pricing!
Contact: Audience Development Manager Joel Barrett‚
‚ (574) 631-3777‚ www.aftls.org
SINRS Symposium at Stirling [The London Renaissance Seminar]
The Shakespeare Conference: SHK 22.0070 Monday, 9 May 2011
From: John Drakakis <
Date: Friday, 6 May 2011 15:00:50 +0100
Subject: SINRS Symposium at Stirling [The London Renaissance Seminar]
SINRS One-Day Symposium in Conjunction with The British Shakespeare Association
Known and Imagined Communities in The Renaissance
Saturday, July 16, 2011.
UNIVERSITY OF STIRLING
SECOND CALL FOR PAPERS
I’th’ commonwealth I would by contraries
Execute all things. For no kind of traffic
Would I admit, no name of magistrate;
Letters should not be known; riches, poverty
And use of service, none; contract, succession,
Bourn, bound of land, tilth, vineyard, none;
No use of metal, corn, or wine, or oil;
No occupation, all men idle, all;
And women too – but innocent and pure;
No sovereignty –
(The Tempest, 2.1.147-157)
The debate about different kinds of society, both real and fictional, was intense and wide-ranging during the 16th century and into the 17th century. In addition to the two basic types of social formation that actually existed - absolute monarchy and republic - there were, from Sir Thomas More’s Utopia onwards, accounts of ‘fictional’ communities of the kind envisaged by Shakespeare’s Gonzalo in The Tempest. This symposium aims to address the various kinds of representation of actually existing communities, covering descriptions in texts such as Sir Thomas Smith’s De Republica Anglorum, Jean Bodin’s Six Books of the Commonwealth, or Fulk Greville’s A Treatise on Monarchy, and representations in Shakespeare’s Roman plays, and those of Jonson, and other early 17th century contemporaries, of the various stages and kinds of political formation from tyranny to empire; or in Shakespeare’s two Venetian plays, The Merchant of Venice and Othello, and Jonson’s Volpone, of republicanism. Questions such as: what binds a community together; how are its values formulated and transmitted; to what extent are these ties dependent upon ‘language’ and upon an ‘imagined’ collectivity of the kind proposed by commentators such as Benedict Anderson, will form part of the discussion. But the symposium will also consider ‘imagined’ communities in the fully fictional sense of the term and as exemplified in texts such as More’s Utopia but extended to early 17th century writers of utopian fiction. For the purposes of the symposium the terminus ad quem will be the writings of Milton and Thomas Hobbes.
Papers are invited for a one-day symposium on ‘Known and Imagined Communities in the Renaissance’, and proposals should be submitted to the following address by Monday 30 May, 2011; papers should be no longer than 15 mins. duration (10pp. double-spaced typed A4):
Professor J. Drakakis
Department of English Studies
University of Stirling
Stirling FK9 4LA
Should contributors so wish, then their papers will appear on the SINRS website after the symposium.
There will be a fee of £35 for the day, which will cover coffee, tea, and a buffet lunch. This symposium is run in conjunction with The British Shakespeare Association, and members of the BSA are entitled to a £5 discount on production of membership number. BSA membership forms will be available on the day for anyone who wishes to join.
The Events committee of the BSA have generously offered 5 BSA bursaries at a cost of £35 each to benefit delegates at this SINRS/BSA event who are on a low income (e.g postgraduate students, independent researchers). SINRS will oversee the awards of these bursaries to individuals (who must be members of the BSA). However, the BSA requires the submission of a text (no more than half of an A4 page in length) from each successful recipient on the personal benefits enjoyed by the BSA award. These will be submitted to the chair of the BSA Events subcommittee after the event via SINRS, giving all necessary details of the awards made.
Cheques for the symposium to be made payable to English Studies, University of Stirling. A symposium registration form is attached. Delegates who wish to pay on the day can do so, but please send in your registration form well beforehand so that we can plan for meals.
The registration list will close when the number has reached 50 participants, and registration will be done on a first-come-first-served basis. Please complete the following slip and return it by Monday 6 June to:
Department of English Studies,
University of Stirling,
Stirling FK9 4 LA,
The Shakespeare Conference: SHK 22.0069 Monday, 9 May 2011
From: Actors From The London Stage <
Date: April 5, 2011 6:36:22 AM EDT
Subject: AFTLS Openings
AFTLS has an unexpected opening for the Fall 2011 tour of The Tempest. Our loss is your gain! We're offering the week of October 31- November 6 at a greatly reduced rate. This week is certain to book up fast, so contact us for details.
Joel Barrett (574) 631-3777
Ask about these upcoming tours:
Spring 2012 - Twelfth Night‚
Fall 2012 - Merchant of Venice‚
Spring 2013 - Hamlet‚
Fall 2013 - Othello‚
Spring 2014 - As You Like It
CFP: ASTR Shakespearean Performance Research Group
The Shakespeare Conference: SHK 22.0068 Monday, 9 May 2011
From: Don Weingust <
Date: May 3, 2011 2:40:03 PM EDT
Subject: CFP: ASTR Shakespearean Performance Research Group
Call For Papers, Deadline: Tuesday, May 31, 2011
The Shakespearean Performance Research Group of the American Society for Theatre Research (ASTR)
American Society for Theatre Research / Theatre Library Association 2011 Conference
Montreal, Quebec Canada
November 17 – 20, 2011
Fairmont The Queen Elizabeth Hotel
The Shakespearean Performance Research Group of the American Society for Theatre Research (ASTR) provides an ongoing home for the study of Shakespearean performance within ASTR.
For the 2011 conference, “Economies of Theatre,” we seek papers that address issues relating to the history, theory, and practice of Shakespeare performance. While Research Group papers need not be tied to the conference theme, our inquiries do engage with several areas germane to the themes of the Montreal conference and we particularly invite papers that broadly interrogate the "economies" of Shakespearean performance. For example, this questioning might involve the financial structure of early or late modern theatre and performance in some dimension, the symbolic exchange in which Shakespearean drama and performance continue to function, the ways in which relationships between “literary” and “performative” economies have been construed throughout history, how financial/economic imperatives have shaped Shakespearean performance on stage and in other media, or how conceptions of emotional and affective economies have influenced the economies of exchange between producers and consumers of Shakespeare.
Selected papers will be assigned to subgroups by the group’s conveners, Catherine Burriss, Franklin J. Hildy, Robert Ormsby, Don Weingust and W. B. Worthen, and the conveners will organize on-line communication of subgroup members before the conference. At the conference session, papers will be discussed first within subgroups, after which the subgroups will come together to exchange ideas.
Those wishing to propose a paper should submit a 200-word abstract and 50-word academic biographical statement, including current affiliation(s), if any, by Tuesday, May 31st, 2011, to
(proposals also can be mailed to Don Weingust, Center for Shakespeare Studies, Southern Oregon University, 1250 Siskiyou Boulevard, Ashland, OR 97520).
More information about ASTR and the Montreal conference are available at http://www.astr.org.