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Bernice W. Kliman


The Shakespeare Conference: SHK 22.0316  Thursday, 1 December 2011


[1] From:         Mike Jensen < This e-mail address is being protected from spambots. You need JavaScript enabled to view it >

     Date:         Wednesday, 30 Nov 2011 15:26:23 -0800

     Subject:      Bernice W. Kliman 


[2] From:         Nicholas Clary < This e-mail address is being protected from spambots. You need JavaScript enabled to view it >

     Date:         December 1, 2011 2:27:59 PM EST

     Subject:      Bernice W. Kliman


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

     Date:         Thursday, December 1, 2011        

     Subject:      Bernice W. Kliman 




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

Date:         Wednesday, 30 Nov 2011 15:26:23 -0800

Subject:      Bernice W. Kliman


It is an irony of life, and yes, of death, that the people we love may be ready to go but we are not ready to let go of them. When Bernice W. Kliman went into hospice care Monday night, she told the enrolling nurse that she was ready to go, and after a couple of years of sometimes acute pain, the sooner the better. It broke my heart when I read her husband Merwin’s message about this. Bernice got her wish and passed away at 6:30 the next morning. Selfish as I am, I am not ready to let Bernice go.


We got to know one another when I lucked into an opportunity to interview Mel Gibson about his Hamlet film, and thought that the Shakespeare on Film Newsletter (SFNL), which Bernice co-founded and co-edited with Kenneth S. Rothwell, would be a good home for it. They both liked the piece, and it became both my first scholarly publication and my first cover article. Her comments about the Gibson interview made it better. Bernice saw potential in me that I was struggling to find some direction for, and nudged me towards doing more Shakespeare film writing. In those mail-by-post days, there was far more involved in encouraging me than there is now that we toss off a dozen e-mails each day. This was labor intensive encouragement. I don’t think that I followed any of the suggestions for new articles that she made, she wanted to read them more than I wanted to write them, but it helps tremendously if someone believes in you when you do not quite believe in yourself. I ended up in Shakespeare and popular culture more generally because I do not like the judgmental direction that so much Shakespeare film scholarship took, but it was the start I needed. Lesson learned #1: There was a place in the scholarly world for a grad school drop-out like me.


It was shortly after this that Bernice and Ken Rothwell merged SFNL into Shakespeare Bulletin and moved in other directions. Ken went into different work with Shakespeare films and Bernice turned herself into one of our foremost Hamlet experts. She is perhaps best known for her work on the texts, with such publications as The Enfolded Hamlet which allowed readers to study Q1, Q2, and F at the same time, published as a special issue of The Shakespeare Newsletter (SNL) in 1996, and now available on the web: This was preceded by the divine Three-Text Hamlet, edited with Paul Bertram, which printed parallel passages of the three versions in three columns with an extra column for Q1 transpositions (AMS Inc., 1991). Bernice had AMS send a copy of the 2003 revised edition to me when it was published, meaning there is no autograph, alas. In 2008 Bernice and James H. Lake co-edited the Hamlet volume in the New Kitteredge Shakespeare editions, about which there is a bit more below. Prior to these came Hamlet: Film, Television, and Audio Performance (Farleigh Dickinson University Press,1988), a truly innovative but under-known book that studies these forms of electronic Hamlets, and finds their unities and diversities. Approaches to Teaching Shakespeare’s Hamlet was edited as part of the MLA “Approaches” series in 2001. It features 57 essays by teaching scholars about facets of the play that they try to bring out in the classroom and practical advice for getting the play across.  Now it can be told that the thanks I receive on page xiv was entirely undeserved. It was for a contribution that Bernice made to another publication. I knew the subject better than she, so she asked me to comment on what she had written, which I was glad to do. She ended up using a few of my sentences paraphrased in her entry. It was not appropriate or even possible to thank me there, so Bernice snuck it in here. The lesson learned #2: pay your scholarly debts one way or another.


There are three books that are unrelated to Hamlet. The New Kitteredge Shakespeare edition of Romeo and Juliet, like the Hamlet edition, was co-edited by James H. Lake and released in 2008. I am not a big fan of these editions, but there are certainly things to like about them, such as the filmographies in the back. I also like the timelines that Bernice created for both Hamlet and this book, but which are not typical of the series. Studying them convinced me that timelines and their problems ought to become standard features of all editions of Shakespeare. Macbeth was written for the “Shakespeare in Performance” series (1992, revised 2004). It is a superb stroll through past productions from Davenant through Ron Daniels’s in 1999. Television and film figure prominently, of course. A surprise to some will be Latin American Shakespeares edited with Rick J. Santos, a colleague of Bernice’s from Nassau Community College (Farleigh Dickinson University Press, 2005). This is a collection of essays examining most aspects of Shakespeare reception and production south of the border. Lesson learned #3: get out of your comfort zone. Find something worth doing and do it.


I several times asked Bernice to be a guest in my “Talking Books” column in Shakespeare Newsletter. She several times declined, because Bernice figured out just how much work it really is to do the column well. The last time I even used as incentive the opportunity to publicize what may prove to be her greatest and most lasting achievement, Bernice managed to get SNL to feature it in another way shortly after. Hamletworks is the innovative, indispensible, one-stop-shopping resource for all things Hamlet, and I do mean all things. Information on films, an article archive, texts, well, you name it and you are likely to find it or a link to it on hamletworks. I told Oregon Shakespeare Festival Artistic Director Bill Rauch about the site as he prepared to direct their 2010 Hamlet in late 2009. Bill’s e-mail response: “This is thrilling.” All who read this should bookmark this amazing resource now. I owe Bernice an article about Hamlet comics for the site, which I promised to get to “next year” for the past four years. Lesson learned #4.


Hamletworks grew out of a big and still unfinished project, the New Variorum Hamlet, for which Bernice served as the lead editor for many years. Her intention was to create a standard variorum text to the specifications of the series, and put that and everything that could not be included in the book onto the true variorum, hamletworks. Bernice had to withdraw from the Variorum a couple of years ago because of her health problems, but she still tinkered away at hamletworks. You can read more about this work in her article “Print and Electronic Editions Inspired by the New Variorum Hamlet Project,” published in Shakespeare Survey 59 (Cambridge University Press, 2006). Lesson learned #5: books are great, but the world is changing. Keep up so that scholarship can reach its new potential.


We can still look forward to a review essay on a Hamlet production in Shakespeare Survey 64 (Cambridge University Press), a chapter on Measure for Measure in Who Hears in Shakespeare?: Shakespeare's Auditory World, Stage and Screen, edited by Bernice’s friend Laury Magnus and Walter W. Cannon (Farleigh Dickinson University Press), both books due to be released at any second. There is also an article on Macbeth, co-written with Magnus, that will probably be published next year. I’m sure there is a New Kitteredge Measure for Measure edition edited with Dr. Magnus forthcoming, but a Google searchfailed to confirm my memory of this. Lesson already known: these will be nice, I can’t wait, but they are not enough.


Bernice was given a great compliment a couple of years ago. I found that Rosencrantz and Guildenstern are in Olivier’s film version of Hamlet (1948) after all, at least sort of, despite the many denials by Olivier, adaptor Alan Dent, Olivier biographers, and Shakespeare film scholars. There are two silent characters that correspond to them at a key moment, but we have not recognized them because they have no lines. I wrote a note quoting some of the people, including Bernice, who have said that R&G are not in the film and then demonstrated the correspondence of R&G to these characters. While there is no reason for Bernice or anybody who have written about these missing characters to be embarrassed by my discovery, still I wrote to ask Bernice if she preferred that I quote someone else. I sent a draft of the note with that question. She asked me to keep her quote because of her disappointment that her Shakespeare film work is largely un-cited today and hoped that colleagues would be reminded of it. She did not mind the implication that she was partially mistaken. She also suggested that I rethink the way that I worded my ending, and she was quite right. Doug Lanier was also encouraging about the draft I sent to him, and told me how to get screen captures from a DVD, which were essential to the note. I, of course, thanked both in the first endnote.


I sent the piece to Literature/Film Quarterly, which rejected it. This is fine in principle, but the reader was an idiot.  The dumbest reason that s/he rejected publication was my “name dropping,” when I thanked Doug and Bernice. We know from lesson learned #2 that you always pay your scholarly debts. The note was published in the last issue Borrowers and Lenders, so no permanent damage was done.


What is the compliment that I mentioned? It is the assumption that Bernice W. Kliman’s is a name worth dropping. I am proud to have known her, worked with her, learned from her, to have stayed with Bernice and Merwin when we visited the East Coast, cooked with her, walked with her, shopped with her, and I shall be dropping her name for the rest of my life. Bernice Kliman is gone, but I am not nearly ready to let her go.


All the best, 

Mike Jensen

author site:



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

Date:         December 1, 2011 2:27:59 PM EST

Subject:      Bernice W. Kliman


I was deeply saddened to learn of Bernice’s passing.  She had been keeping a blog for several months, ever since her battle with cancer had nearly immobilized her completely. All the while she remained positive about her condition, despite the pain and the relentless testing and treatment.  She worked on her scholarship, met with her reading/writing group, and brought everyone close to her even closer still.  Merwin would sometimes take over the blogging when Bernice was unable to do it. The two of them were models of patience and mutual affection.  Many days I was uplifted by a photograph posted on her blog, by an email about our shared editing work and our warm relationship.  Bernice was a very special person indeed.  She was a scholar, a lover of family and friends, and person with a heart as big as the sun.  As a Shakespearean, she was the real deal.  As a woman of courage and kindness, she was rare indeed.  She will be dearly missed by all who have come to know and love her. 


Nick Clary

Professor, Department of English

Coordinator of the Honors Program



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

Date:         Thursday, December 1, 2011        

Subject:      Bernice W. Kliman 


I too was deeply saddened to learn of Bernice’s death.


As with all who knew her, I loved her. She was a wonderful woman and scholar, whose example has been an inspiration to me.


Before we met, Bernice favorably reviewed a pivotal essay of mine, the central theory of my dissertation. I will be ever grateful. 


Over the years, we got to know each other, meeting at conferences and inevitably having a meal together or with others, frequently the members of the Hamlet Variorum team. One memory I have is the time that she, John Andrews, Michael Warren, Ted Wright, my family, and I stayed at the same guesthouse in Stratford for the International Conference. Our breakfast discussions of the previous evening’s RSC performances were stimulating. To everyone else’s credit, my daughters were included in those conversations.


Mike covered the scholarly achievements for which Bernice will be remembered, but, in addition, I will always remember her wonderful multicolored stockings.



Shakespeare Programs in Italy


The Shakespeare Conference: SHK 22.0317  Thursday, 1 December 2011


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

Date:         November 29, 2011 6:26:37 PM EST

Subject:      Shakespeare Programs in Italy


Dr. Gregory Roper and Dr. Andrew Moran of the University of Dallas invite you to join them in Rome next summer for "Shakespeare's Baroque Rome," for adults, or "Shakespeare in Italy," for high school students. 


"Shakespeare's Baroque Rome" is an eleven-day program (June 27-July 8, 2012) in which teachers, graduate students, and other lovers of Shakespeare will study his late works in light of Baroque art and architecture. The course takes place at the University of Dallas' lovely Rome campus, and three hours of 5000-level credit are a possibility. Almost every day will include seminars, excursions around Rome, and time for wine at the forno patio, walks around the vineyard, and conversation at the cappuccino bar. For more information please visit


In "Shakespeare in Italy" (July 9-26, 2012) high school students earn three hours of college credit by studying three of Shakespeare's Italian plays, Julius Caesar, The Merchant of Venice, and The Taming of the Shrew, and touring Rome most every day except for a four-day trip to Venice and Padua. The plays not only lead the students to consider questions of love, honor, freedom, and self-government but also introduce them to Italy, where each city becomes another classroom. Small group discussions and writing tutorials prepare students for college. For more information, please visit


Andrew Moran

Assistant Professor of English

University of Dallas

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. 



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. 



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 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 or call 212-868-4444, citing code TFA495.



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 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 

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




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.



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

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:


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.   



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.




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  


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