New DVD: Shakespeare’s Sonnets
The Shakespeare Conference: SHK 23.02897 Friday, 13 July 2012
From: Louise Machin <
Date: July 13, 2012 7:15:49 AM EDT
Subject: New DVD: Shakespeare’s Sonnets
For Release 20 July 2012 by Illuminations
Illuminations, with Touch Press, Faber and Faber and The Arden Shakespeare, present an exclusive DVD release, Shakespeare’s Sonnets.
Released alongside the acclaimed iPad app, The Sonnets by William Shakespeare, Shakespeare’s Sonnets features specially filmed performances of every Sonnet by a star-studded cast of 42 actors and Shakespearean experts, including Sir Patrick Stewart, Kim Cattrall, David Tennant, Simon Russell Beale, Dominic West, Fiona Shaw, Dame Harriet Walter, Simon Callow, Stephen Fry, and poets Don Paterson and Sir Andrew Motion. Other prominent experts on Shakespeare include Professor James Shapiro and voice coach Cicely Berry.
The mysteries and marvels of Shakespeare's Sonnets are revealed as never before in these vivid, compelling and accessible performances.
The DVD also includes a beautiful 24-page booklet featuring every actor, a listing of Sonnets performed by that actor, photograph, and biography.
Price: £14.99 including VAT / length: 180 minutes / format: PAL Region 0
Shakespeare’s Sonnets DVD is available from www.illuminationsmedia.co.uk, thesonnets.tv, Amazon, Moviemail and other good retailers.
The Sonnets by William Shakespeare for iPad is available from the iTunes App Store itunes.com/appstore for £9.99.
Illuminations is a producer and publisher of television, films and DVDs about the arts and performance. Recent productions include Hamlet (2009) with David Tennant, Macbeth (2010) with Patrick Stewart, and Being Shakespeare (2012) with Simon Callow. Gregory Doran’s Julius Caesar with the RSC will be released on DVD in September 2012.
For more information contact Louise Machin on 020 7288 8409 /
Notes to editors:
Faber and Faber (faber.co.uk) is one of the great independent publishing houses in London, with no fewer than twelve Nobel Laureates and six Booker Prize-winners among its authors.
Touch Press (touchpress.com) is a London-based digital publisher who UK and US founders have a distinguished track record of interactive software development. Their launch title, The Elements for iPad, has become an international publishing phenomenon, selling over 280,000 copies.
The Arden Shakespeare (ardenshakespeare.com) is the long-running and pre-eminent publisher of editions of Shakespeare's work for scholars and general readers.
19-20 Rheidol Mews, London N1 8NU
+44 20 7288 8400 F: +44 20 7288 8488
Early Modern Culture: Debate on Materialism in Literary Theory
The Shakespeare Conference: SHK 23.02890 Tuesday, 10 July 2012
From: David Siar <
Date: July 9, 2012 2:04:09 PM EDT
Subject: Early Modern Culture: Debate on Materialism in Literary Theory
The new issue of Early Modern Culture (<http://emc.eserver.org>) contains a lively discussion of an article by David Hawkes entitled “Against Materialism in Literary Theory.” (This article appeared last year in a collection entitled The Return of Theory in Early Modern English Studies, eds. Paul Cefalu and Bryan Reynolds, as is reprinted in EMC with permission of the publishers.) Participants include Michael Booth, Adam Bryx & Bryan Reynolds, William Flesch, Christopher Kendrick, and John Sutton & Evelyn B. Tribble. There is also a response by Hawkes and there are counter-responses by several of the participants.
Early Modern Culture is edited by Crystal Bartolovich and David Siar and is published by the English Server at Iowa State University.
CFP: “Shakespeare in/and Manuscript” (SAA 2013)
The Shakespeare Conference: SHK 23.02889 Tuesday, 10 July 2012
From: Jean-Christophe Mayer <
Date: July 8, 2012 5:38:51 AM EDT
Subject: CFP: “Shakespeare in/and Manuscript” (SAA 2013)
Dear SHAKSPER List Members,
This is a call for papers for a seminar entitled “Shakespeare in/and Manuscript”, which we will be organising at the next Shakespeare Association of America (SAA) meeting in Toronto, Canada, 28-30 March 2013.
While the only extant Shakespearean holograph manuscript is notoriously limited to a short scene in a collaborative play (Sir Thomas More), there is a wealth of other Shakespearean manuscripts. Traditionally, the value of these manuscripts was seen to reside in the fact that their texts could provide potentially useful variants for editors in pursuit of a so-called authentic Shakespearean text. Today, although these views have evolved, our understanding of the social and historical dissemination of Shakespeare’s text tends to be informed mainly by the rise of Shakespeare in print.
Participants in this seminar will be invited to consider such phenomena as the cultural mobility of Shakespeare in manuscript, textual bricolage, or indeed the elaboration of a parallel cultural economy—separate but also intimately tied the world of print. Contributors will delve into the archive to explore these other manuscripts, including promptbooks, miscellanies, commonplace books, and manuscript marginalia in printed books. Beyond literary manuscripts that contain Shakespearean text, this seminar encourages participants to consider alternative sources such as account books, songbooks, and diaries, which may also offer insight into particular productions. This investigation of primary materials will highlight the varied and contingent responses to Shakespeare’s plays and poems from the early modern period to the present.
The goal of this seminar is to encourage participants to consider the wide range of Shakespearean manuscripts, to showcase a variety of critical approaches to these primary texts, and to explore some of the new (and often digital) ways to access these sources. Participants will share their expertise(s) in bibliography and textual studies while also providing historical and cultural contexts in which to understand these materials. If possible, the members of this seminar will visit the Thomas Fisher Rare Book Library or the Centre for Reformation and Renaissance Studies (University of Toronto).
If you are interested, please kindly register for the seminar by 15 September 2012 on the website of the Shakespeare Association of America: <http://www.shakespeareassociation.org/>. Feel free to contact us also if you have any questions.
University of Victoria, Canada
French National Centre of Scientific Research (CNRS)
and University of Montpellier
CFP Shakespeare and Japan
The Shakespeare Conference: SHK 23.0284 Friday, 7 July 2012
Date: July 6, 2012 7:28:40 AM EDT
Subject: CFP Shakespeare and Japan
Shakespeare and Japan: A One-Day Conference
Tuesday 26 February, 2013
De Montfort University, Leicester, England
Journal ‘Shakespeare’ goes ‘Online First’
The Shakespeare Conference: SHK 23.0279 Thursday, 5 July 2012
From: Gabriel Egan <
Date: July 2, 2012 7:08:32 AM EDT
Subject: Journal ‘Shakespeare’ goes ‘Online First’
The Routledge journal Shakespeare (ISSNs 1745-0918 Print, 1745-0926 Online) appears online every three months with an annual printed volume of four issues. The electronic issues are identical to the printed volume, including in their pagination. Because the journal has a considerable backlog of accepted articles waiting for an available slot in an issue, it can take some time before they appear even in the electronic form.
The journal has decided to adopt a publication method known an ‘Online First’ in which articles are made available electronically even before they are assigned to an issue. In this method, articles are copy-edited, typeset and corrected as normal. They don’t have their final pagination, but are in every other respect identical to the article that will eventually be published in an issue. Once online, the articles can be cited by their Digital Object Identifier (DOI) (a unique code findable online that remains the same throughout the life of the article), and when it comes time to publish the issue, the ‘Online First’ articles are replaced with the fully-paginated versions.
This means that authors’ work is accessible sooner than before. Feedback from authors shows that it is increasingly important to publish quickly and ensure that articles are widely available. Publishing articles online earlier also increases the citation window, so it has a positive effect on impact factors. For the purposes of the UK’s Research Excellence Framework (REF) appearance in the ‘Online First’ stream counts as publication
and such an article is returnable in the census.
Information on the journal and a link to the online submission system can be found at <http://www.tandfonline.com/toc/rshk20/current>.
Cahiers Elisabethains: 40th Anniversary Special Issue
The Shakespeare Conference: SHK 23.0275 Thursday, 28 June 2012
From: Jean-Christophe MAYER <
Date: June 28, 2012 4:36:18 AM EDT
Subject: Cahiers Elisabethains: 40th Anniversary Special Issue
Dear SHAKSPER List Members,
Cahiers Elisabethains is proud to announce the publication of its 40th Anniversary Special Issue: “Nothing if not Critical”: International Perspectives on Shakespearean Theatre Reviewing, guest edited by Paul Prescott, Peter J. Smith and Janice Valls-Russell.
* Please note also that article submissions are now open for the next issues of the journal.
Submissions can be send to either of Cahiers’s assistant editors: <
> or <
More information: <http://recherche.univ-montp3.fr/cahiers/>
Jean-Christophe Mayer and Nathalie Vienne-Guerrin
Introduction (Paul Prescott, Peter J. Smith, Janice Valls-Russell)
Theatre Reviewing a la mode des Cahiers (Janice Valls-Russell)
I. WAYS OF BEING, WAYS OF SEEING
Academic Reviewing, Interculturalism and Committed Aesthetics: Syncretic Itineraries of a Reviewer (Nathalie Rivere de Carles)
Objective Reviews? No, Thanks! (Markus Marti)
Valuing Shakespearean Theatre Reviews (Rob Ormsby)
Surveying Survey (Rob Conkie)
“She will a handmaid be to his desires”: Theatre Reviewing in the Service of Education in Rex Gibson’s Shakespeare and Schools (Sarah Olive)
The Disappearing Audience: Reviewing Shakespeare in the UK (Irene Middleton)
When is a Theatre Record not a Theatre Record? (Jeannie Farr)
The Newspaper Review: Constructing an Understanding of Shakespearean Performance in Madrid (1900-1936) (Juan F. Cerda)
What Becomes of a Performance Through (Second-Hand) Quotations of (Second-Hand) Reviews? (Isabelle Schwartz-Gastine)
II. SENSES OF PLACE
“So That’s Where That Phrase Comes From” Moments and Taffety Punks: Some Thoughts on the State of Theatre Reviewing in Washington, DC (Sara Thompson)
Reviewing the Reception of Yukio Ninagawa’s Shakespeare Productions (1999-2009) in the British and Japanese Press (Tomonari Kuwayama)
Reviewing Shakespeare in Bulgaria: Past and Present (Alexander Shurbanov & Boika Sokolova)
Shakespearean Performance Reviewing in Brazil (Margarida Gandara Rauen)
Reviewing Tunisian Productions of Shakespeare’s Plays under Bourguiba and Ben Ali (Francis Guinle)
Critical Conditions: Reviewing Shakespeare in South Africa (Colette Gordon)
Australian Newspaper Reviewers of Shakespeare: Writing with the Head or with the Heart? (Penny Gay)
Amateur Reviewing at the Avignon Festival: the “Mirror Group” (Florence March)
Afterword (Peter Holland)
From the Introduction:
Theatre reviews of Shakespeare’s plays tend — inevitably — to be overwhelmingly focused on the Anglophone scene. (…) Hence, academic thinking about Shakespeare theatre reviewing has hitherto tended to be dominated by what is happening on the UK stage, and the way it is being written about in the press, academic journals and, more recently, blogs. (…) All of the papers in this special edition of Cahiers Élisabéthains anatomize the critical conditions of the performance and reception of Shakespeare’s plays across decades and across continents. (…) Our aim has been to cast our net wide, to prospect further afield, to explore theatre reviewing of Shakespeare through other perspectives/nationalities/geographies/cultures. That these papers should be published in Cahiers is especially appropriate since it continues the journal’s own unique international tradition of theatre reviewing in its biennial numbers as well as the previous special issue of 2007 which covered the uniquely international range of productions offered by the RSC’s Complete Works Festival in Stratford-upon-Avon in 2006-2007. (…). We are delighted to include essays here which consider the place of Shakespeare reviewing in France, Switzerland, UK, Spain, Australia, Japan, Canada, South Africa, USA, Tunisia, Bulgaria and Brazil.
Launch: Issue 7.1. Borrowers and Lenders: The Journal of Shakespeare and Appropriation
The Shakespeare Conference: SHK 23.0268 Tuesday, 26 June 2012
From: Sujata Iyengar <
Date: June 25, 2012 4:41:01 PM EDT
Subject: Launch: Issue 7.1. Borrowers and Lenders: The Journal of Shakespeare and Appropriation
The editors of the peer-reviewed, online, multimedia periodical Borrowers and Lenders: The Journal of Shakespeare and Appropriation (CELJ Winner, “Best New Journal,” 2007) are delighted to announce issue 7.1, which features Peter Holland’s plenary lecture from this year’s Shakespeare Association of America meeting (complete with film clips and high-resolution images); Giselle Rampaul’s essay on Shakespeare and King of the Masquerade; Brian Walsh’s discoveries about the Shakespeare windows in Southwark Cathedral (with illustrations); Regula Hohl Trillini’s exhaustive analysis of appropriations of Hamlet’s “To be, or not to be” speech; and book reviews by Julie Sanders and Lisa Bolding.
Please visit the journal (http://www.borrowers.uga.edu/), “like” our Facebook page, tell your friends, and consider sending us your own excellent work.
Sujata Iyengar, Professor
Co-general editor of Borrowers and Lenders: The Journal of Shakespeare and Appropriation
Department of English
University of Georgia
CFP: Shakespeare Jahrbuch
The Shakespeare Conference: SHK 23.0258 Wednesday, 20 June 2012
From: Kareen Seidler <
Date: June 20, 2012 5:01:56 AM EDT
Subject: CFP: Shakespeare Jahrbuch
Call for Papers – Shakespeare Jahrbuch 2014
The 2014 volume of Shakespeare Jahrbuch will be a special issue devoted to “Money and Power”.
Karl Marx thought that “Shakespeare excellently depicted the real nature of money”. Indeed, money plays a central role in Shakespeare’s works: monetary transactions and the exchange of goods, bonds and loans, greed and expenditure, wealth and debt are themes of his plays and poems and provide the sources for their imagery. The language of money permeates the language of love; purses and coins circulate and merchants and moneylenders shape the plot: “To be or not to be” is determined by assets and economic transactions. The shepherd Corin in As You Like It is well aware that “he that wants money, means and content is without three good friends”, and yet wealth is not always a blessing in Shakespeare. His plays react to the economic upheavals in early modern times and they interrogate the inherent moral, religious and political implications. Early modern poetry and drama are simultaneously bound up in economic networks and the underlying power relations of patronage and the corporate structure of London’s theaters.
Analyzing the relationship between “money and power” in Shakespeare is particularly pertinent at a time when debt crises, the influence of financial markets and the divide between rich and poor dominate world politics.
The editorial board of Shakespeare Jahrbuch invites essays on the following topics:
Money and power in Shakespeare’s plays
Representations of poverty and wealth
The circulation of money and goods on the early modern stage
Shakespeare and the debate on usury
Money and love – monetary and affective economies
Shakespeare’s negotiation of early modern economic discourses
Shakespeare’s theatre as big business
Shakespeare in Political Economy
Shakespeare and the debt crisis
. . .
Shakespeare Jahrbuch, the Yearbook of the German Shakespeare Society, is a peer-reviewed journal. It offers contributions in German and English, scholarly articles, an extensive section of book reviews, and reports on Shakespeare productions in the German-speaking world. It also documents the activities of the Shakespeare Society.
Papers to be published in the Shakespeare Jahrbuch should be formatted according to our style sheet.
Please send your manuscripts (of about 6,000 words) to the editor of Shakespeare Jahrbuch, Prof. Dr. Sabine Schülting (email:
), by 31 March 2013.
Bedlam Ensemble MM: KickStarter Request
The Shakespeare Conference: SHK 23.0254 Monday, 18 June 2012
From: BedlamEnsemble <
Date: June 16, 2012 1:14:50 AM EDT
Subject: Bedlam Ensemble MM: KickStarter Request
Bedlam Ensemble Presents Measure for Measure
Bedlam Ensemble is a non-profit organization dedicated to staging theatre works of high artistic integrity. Bedlam aims to nourish an open an artistic community where artists are free to experiment and challenge themselves within the entertainment industry. The ensemble has a commitment to strike a balance between emerging and veteran artists; between the works of new and established playwrights, and revisiting classic pieces of work with a modern twist. Our ensemble nourishes an open and artistic environment that keeps us engaged in our community and proactive in our pursuit of excellence.
Measure For Measure
Performances start 7/25/12
Years ago, Vienna was a place where the people were pure and the city was clean and beautiful. Fast-forward to today and you find a gritty, dark world filled with sex, drugs, and debauchery. To bring it back to the glory that it once was, the Duke leaves a pure man, Angelo, in charge to right the sexual wrongs he has let slide for so long. Temptation prevails, however, when a smart, beautiful, and outspoken nun touches Angelo and he offers to save her brother’s life only if she will sleep with him. Measure for Measure is a play that explores sex and power and the interplay between the two.
The production’s gritty contemporary New York City setting brings all of Shakespeare’s themes and characters into the present day, reminding viewers of how vital these words still are. This is where you come in. Without money all we have is ourselves. We need the funds to buy everything (props, costumes, set pieces) that will bring this story to thrilling life as you’ve never seen it before.
Directed by Samantha Lee Manas
Produced by Michel Chahade and Samantha Jane Williams
Dramaturgy by Rosa Schneider
Scenic Design by Zachary Tomlinson
Costume Design by Samantha Lee Manas
Graphic Design by Dan Streeting
Kimberly Marie Freeman
John E. Sims
We are mounting a production of Measure for Measure set in contemporary New York City and have a kickstarter campaign for the show. We have huge ideas for the production but cannot execute them without the help of our backers:
Measure for Measure
KinderBard: Kickstarter Request
The Shakespeare Conference: SHK 23.0253 Monday, 18 June 2012
From: Daeshin Kim <
Date: June 15, 2012 1:54:25 PM EDT
Subject: KinderBard: Kickstarter Request
KinderBard: Songs for Children Sung by Characters from Shakespeare
Format: Hardcover picture book + CD; eBook; iPad app
Kickstarter Website: http://kck.st/KoAuw6
Three Days Remaining
Pledges: The Kickstarter crowdfunding website takes ‘pledges’ through Amazon, but transactions are only enacted if the creator of the project (me) reaches his goal ($22,000) before the time limit (21st June). If the creator does not reach his target goal, all transactions are cancelled and the creator receives nothing and the supporters owe nothing (this is to ensure that the creator is not “partially funded” which is not fair to the supporters or the creator).
My family and I have a dream of introducing Shakespeare to young children through song, and we have been working very hard to get these songs professionally recorded, with a view to publishing them together with a picture book, and as part of an interactive app. We have been featured by the Folger Shakespeare Library (at http://folgereducation.wordpress.com/2012/06/12/kinderbard/) and just yesterday, my family’s story was posted on the Royal Shakespeare Company’s myShakespeare blog at
We are writing to you because we are nearing the end of a crowdfunding campaign, we have exhausted all of our resources and ideas, and we need a miracle.
Ours is a small family project, but we really want to create the best possible quality product (it costs a lot of money to produce an album and publish a book and app!) - we hope you will be moved by what we have done so far, and how far we have left to go, and any help at all would be very greatly appreciated.
Daeshin Kim and family