TONIGHT: Harry Lennix Screens Shakespeare Film in Memphis
The Shakespeare Conference: SHK 24.0501 Saturday, 2 November 2013
From: Newstok Scott <
Date: November 2, 2013 at 7:44:00 AM EDT
Subject: TONIGHT: Harry Lennix Screens Shakespeare Film in Memphis
Hollywood actor Harry Lennix and scholar/screenwriter Dr. Ayanna Thompson screen their new adaptation of the “Henry IV” plays at the Indie Memphis Film Festival this Saturday night (9pm, November 2, Playhouse on the Square):
“H4” transports Shakespeare to contemporary Los Angeles to explore political struggles in the African American community. Performed in Shakespeare’s original language, “H4” will appeal to Shakespearean aficionados and newcomers alike:
Lennix and Thompson will converse with the audience following the screening. Mr. Lennix will also discuss his role as King Henry IV on WKNO’s “Checking on the Arts” on Friday, November 1 at 9am. The “Memphis Flyer” review of “H4” is pasted below.
Advance tickets ($15) can be purchased online:
Please share this announcement with anyone who might enjoy seeing this film.
Shakespeare at Rhodes
The film H4, premiering this Saturday at Indie Memphis, moves a pair of Shakespeare’s more accessible history plays — Henry IV, Parts 1 & 2 — into the 21st century and measures their relevance against a contemporary African-American experience. That’s a tall order, and it may not even be the most interesting thing about this Kickstarter-funded experiment starring Harry Lennix as the titular H. The script, adapted to the screen by scholar/screenwriter Ayanna Thompson, preserves Shakespeare’s language but deviates far enough from the letter to challenge purists. Director Paul Quinn’s brave embrace of theatrical device and nonrealism should be an inspiration, and possibly even a model, for filmmakers looking to tell huge stories with miniscule budgets.
Although they delve into politics and warfare, the Henry IV plays have all the elements of a classic coming-of-age story. Henry Bolingbroke, played by Lennix in an eye patch, has never made peace with the fact that he took the crown by force, killing his predecessor, Richard II. To atone for his sins, he’d lead a crusade in the Holy Land, but as king he’s too caught up in the business of staying king, as border skirmishes break out and old friends become bitter rivals. Worse, instead of preparing to become king someday, his son and heir is too busy whoring and carousing with thieves and lowlifes. The artists collaborating on H4 have moved the play’s action to Los Angeles and transformed the “Prince of Wales” into the “Prince of Watts.”
Shakespeare’s mostly preserved language is frequently tweaked, with the odd modern reference. Falstaff calls for a cup of “malt liquor” and a capon. Another scene is set with the line: “This is Inglewood, not Guantanamo Bay — there are no hooded men.”
Translating Shakespeare to the big screen is more challenging that it might seem because so much of the rich descriptive language becomes redundant and cumbersome in a photographic medium. This is why relatively modest attempts like Joss Whedon’s recent take on Much Ado About Nothing, which was shot primarily at the director’s home, can have so much more life than Kenneth Branagh’s lavishly appointed and famously uncut Hamlet. H4 shifts between scenes filmed in the graffiti-covered streets of L.A. and scenes shot on an essentially bare stage and in the dressing room of a theater, a convention that allows modern rivals toting switchblades and baseball bats to fight it out with swords and medieval bludgeons in slyly self-conscious displays of stage combat.
Because it was originally performed on a bare stage, Shakespeare’s words set the scene, and Quinn, Lennix, and company have capitalized on this, making it work in a way that may remind some film fans of the narration in Jean-Luc Godard’s sci-fi experiment, Alphaville.
Much ado has been made of Lennix’s dedication to H4, a film that the Shakespeare aficionado has described as a labor of love, but he’s one player in a strong ensemble that includes Keith David, Heavy D, Amad Jackson, and Geno Monteiro making a star turn as Hotspur, the rebel knight.
Saturday, November 2nd, 9 p.m.
Playhouse on the Square
AFTLS' “Othello” at the Cockpit - 25th November
The Shakespeare Conference: SHK 24.0500 Saturday, 2 November 2013
From: Actors From The London Stage <
Date: November 1, 2013 at 7:36:07 PM EDT
Subject: AFTLS' “Othello” at the Cockpit - 25th November
Actors From The London Stage
Actors From The London Stage will present the triumphant homecoming of our Fall 2013 touring production of Othello at London’s Cockpit for two shows only! This eleven-week US tour has been receiving rave reviews from audiences at the University of Notre Dame, University of Texas - San Antonio, Wellesley College, United States Naval Academy, University of North Carolina - Charlotte, Franklin College, and DePauw University. The final two stops for the tour are the University of Texas - Austin (4th -10th November) and Berea College (11th -17th November).
Shakespeare and American Integration
The Shakespeare Conference: SHK 24.0498 Thursday, 31 October 2013
From: Sharon O’Dair <
Date: October 30, 2013 at 3:22:43 PM EDT
Subject: Shakespeare and American Integration
Shakespeare and American Integration: A Symposium
A part of “Through the Doors,” commemorating the 50th anniversary of the integration of the University of Alabama
FRIDAY Nov 15, 2013
Birmingham Room, Bryant Conference Center, UA campus:
1:30—2:45 pm: Jason Demeter (George Washington University): “’The soul of a great white poet’: Shakespearean Educations in the Civil Rights Era”
3:00—4:15 pm: Stephen Buhler (University of Nebraska): “The Duke Speaks Out: Integration and Appropriation in Such Sweet Thunder and My People”
Concert Hall at the Moody Music Building, UA School of Music, UA campus:
7:30 pm: Delfeayo Marsalis Octet: Sweet Thunder: Duke and Shak
SATURDAY Nov 16, 2013
Birmingham Room, Bryant Conference Center, UA campus:
9:00—10:15 am: Nigel Hatton (University of California, Merced): “’To Thine Own Self’: James Baldwin on Shakespeare and the Integration of the English Language”
10:30—11:45 am: Delfeayo Marsalis (New Orleans, LA): “Sweet Thunder: Ellington, Shakespeare, and the Blues”
1:00—2:15 pm: Keith Miller and Erin McCarthy (Arizona State University): “Othello’s Blackness after Malcolm X”
2:30—3:45 pm: Ayanna Thompson (George Washington University): “Joseph Papp’s Color Blinding”
4:00—5:15 pm: Joyce MacDonald (University of Kentucky): “’You’re all I need to get by’: Rehabilitating Romance in a Black Taming of the Shrew.”
Reception: 5:30—7:00 (Location to be discovered!)
Sponsored by: The Hudson Strode Program in Renaissance Studies; The College of Arts and Sciences; The School of Music; the Department of American Studies; and New College.
All lectures and the performance are free and open to the public.
November 6: Ayanna Thompson
The Shakespeare Conference: SHK 24.0497 Wednesday, 30 October 2013
From: Scott A. Trudell <
Date: Tuesday, October 29, 2013 at 3:34 PM
Subject: November 6: Ayanna Thompson
The Marshall Grossman Lecture Series at the University of Maryland, College Park presents:
Ayanna Thompson, George Washington University
“Othello in the 21st Century: To Perform or Not To Perform?”
November 6, 4:30pm
Tawes Hall 2115
Although as Dympna Callaghan has said, “Othello was a white man”—that is, the role was written to be performed by the white renaissance actor Richard Burbage in black make-up—the part has come to represent the pinnacle for the classically trained black actor (e.g., Ira Aldridge, Paul Robeson, Earle Hyman, Roscoe Lee Browne, Morgan Freeman, Laurence Fishburne, and more recently Chiwetel Ejiofor). Yet starting in the late 20th century, many black actors began refusing to play Othello. This talk analyzes the debates about Othello’s role in the 21st century; it addresses the complex and dynamic relationships between Shakespeare, race, and performance.
Scott A. Trudell
Department of English
3243 Tawes Hall
University of Maryland
College Park, MD 20742
The Shakespeare Conference: SHK 24.0494 Thursday, 25 October 2013
From: Gabriel Egan <
Date: October 24, 2013 11:10:38 AM EDT
Subject: PhD Funding Opportunity
Arts and Humanities Research Council (AHRC) funding for UK/EU arts and humanities research students:
The Midlands3Cities Doctoral Training Partnership will be awarding 410 PhD studentships over a five year period to excellent research students in the arts and humanities.
The DTP, a collaboration between De Montfort University and the universities of Nottingham, Nottingham Trent, Leicester, Birmingham and Birmingham City, provides research candidates with cross-institutional mentoring, expert supervision including cross-institutional supervision where appropriate, subject-specific and generic training, and professional support in preparing for a career.
The Centre for Textual Studies at De Montfort University <http://cts.dmu.ac.uk> is inviting applications from students whose research interests include:
* textual criticism
* book history
* manuscript studies
* the editing of literary and/or historical texts
* genetic criticism
* the sociology of authorship and/or publication and/or reading
* enumerative, analytical (descriptive/physical and/or historical) and/or textual bibliography
* computational stylistics
* print technologies
* digital publication
The deadline for AHRC funding applications is 9 January 2014, by which time students must have applied for a place to study and have provided two references to a university within the DTP. For full details of eligibility, funding and research supervision areas, please visit <http://www.midlands3cities.ac.uk> or email <
Prof Gabriel Egan <
Director, Centre for Textual Studies
De Montfort University
The Shakespeare Conference: SHK 24.0493 Thursday, 25 October 2013
From: Hardy M. Cook <
Date: Friday, October 25, 2013
Subject: Saint Crispin’s Day
Hello, from the Blackfriars Conference to all SHAKSPEReans.
It has been a delight to meet old friends and to put faces to SHAKSPEReans who I am meeting in person for the first time.
As Ann Thompson reminded us this morning, today is Saint Crispin’s Day, the feast day of the Christian saints Crispin and Crispinian, twins who were martyred c. 286 CE. I wish the best on this feast day to all present at the Blackfriars Conference and to Shakespearean everywhere.
One of the joys of the Blackfriars Conference is that tickets to the five shows in the fall season of the American Shakespeare Company are included in the price of admission; a splendid time is guaranteed for all.
Now that I have “Being for the Benefit of Mr. Kite!” stuck in my head, I would like to come to the purpose of this note.
Seeing five plays in five days is certainly not the norm, but I would like to remind subscribers that if you are inclined to review any of the Shakespeare productions you have seen, they will not only appear on SHAKSPER but also they will be shared with The Internet Shakespeare Editions Performance Chronicle: http://isechronicle.uvic.ca.
I wish everyone the joy of hearing and seeing, the joy of performance,
The Shakespeare Conference: SHK 24.0491 Wednesday, 23 October 2013
From: Sujata Iyengar <
Date: October 23, 2013 9:20:47 AM EDT
Subject: B&L 8.1 is out!
The Editors of Borrowers and Lenders: The Journal of Shakespeare and Appropriation rejoice at the release of B&L 8.1, which includes: a special cluster on nineteenth-century women actors, artists, and authors, with ground-breaking images of Sarah Bernhardt’s sculptures by Alan Young; discussions of Fanny Kemble, Ellen Tree, and Joanna Baillie, by Anne Russell and Judith Slagle; an article on proto-feminist Shakespearean editors in 19thc. America, by Tricia Lootens; multi-media-rich essays by Peter Erickson and Amy Scott-Douglass on Toni Morrison’s Desdemona and the Met Opera’s The Enchanted Island, respectively; and Sarah Olive’s argument for the term “incidental appropriation” to address glimpses of Shakespeare in British popular reality television shows (of which you can even watch glimpses in streaming video clips). Visit us at www.borrowers.uga.edu, share this message, and “like” our Facebook page if you haven’t already!
Dr. Sujata Iyengar, Professor of English
Co-general editor of Borrowers and Lenders: The Journal of Shakespeare and Appropriation
Department of English
University of Georgia
Athens, GA 30602-6205
706 542 1261 (messages only)
Greater New York Chapter of the American Musicological Society
The Shakespeare Conference: SHK 24.0489 Tuesday, 22 October 2013
From: Jeff Dailey <
Date: October 19, 2013 12:31:36 PM EDT
Subject: Greater New York Chapter of the American Musicological Society
The fall meeting of the Greater New York Chapter of the American Musicological Society will take place on Saturday, October 26th, at the Opera Learning Center in the Metropolitan Opera Guild’s headquarters at Lincoln Center. The theme for the meeting is “Music and Shakespeare.”
Here is the schedule:
12:15-12:45 Introducing a new opera—Hamlet by Nancy van de Vate, with live performance of excerpts
12:45-2:15 1st paper session
Ren Draya - The Music in Shakespeare’s Othello
Samanatha Bassler - Music and Disability in Shakespeare
Ji Yeon Lee - Climax and Anti-Climax: Verdi's Musical Rendering of Lady Macbeth’s Dramatic Narrative
2:30-3:30 Panel Discussion--Using Music to Teach Shakespeare; Using Shakespeare to Teach Music
3:45-5:15 2nd paper session
Alessandra Jones Massenet’s Scènes Dramatiques (1874) and the French Art of Distilling Shakespeare
Jacqueline Sholes - “Joseph Joachim’s Overture to Hamlet in Relation to Shakespeare and Liszt”
Melissa Khong - Ophelia as Creative Agency in Guillaume Lekeu’s Second Symphonic Etude
It will be held in the Opera Learning Center at 70 Lincoln Center Plaza, 6th floor. For directions, go to http://www.metguild.org/MOG/About_The_Guild/Guild_FAQ.html?TM=111menuid=118
Abstracts of the papers may be found on the chapter's website: http://ams-gny-meetings.blogspot.com/
All are welcome to attend.
For further information, e mail
CFP: Thirteenth Annual Undergraduate Shakespeare
The Shakespeare Conference: SHK 24.0488 Tuesday, 22 October 2013
From: Sharon Yang <
Date: October 17, 2013 2:38:24 PM EDT
Subject: CFP: Thirteenth Annual Undergraduate Shakespeare
Thirteenth Annual Undergraduate Shakespeare Conference
“Shakespeare Noir: Destabilization, Corruption, Irruption, Illumination, Liberation”
Saturday, April 26th, 2014 at Worcester State University, Worcester, MA.
Much like film noir in the 1940s and ’50s Shakespeare’s drama and poetry explore the seamy underside of order, respectability, and morality. This conference will look for papers that explore how texts and performances related to Shakespeare destabilize, expose, or illuminate the faux stability of the Elizabethan world picture or the various eras in which the plays and poems have been presented and studied, as well as fetishizing Shakespeare. Possible topics might include exploring:
How Shakespeare’s plays and poems themselves challenge views of
religion and faith
the demonic and the divine
class and gender roles
science and nature
the virtue or destructiveness of art (especially in terms of the theater)
How Shakespeare and his work have been marshaled/manipulated/exploited to reflect specific political, social, philosophical, and aesthetic views through
stage and film productions
paratexts or adaptations on the page, stage, or screen
literary criticism; etc.
Proposals of approximately 300 words due March 14, 2014. Papers length should be gauged for 15 minutes reading time.
$10.00 conference registration fee
Contact Person: Dr. Sharon R. Yang, English Department, Worcester State University, Worcester, MA 0160
Sponsors: Worcester State University, Undergraduate Shakespeare Conference Consortium
Mellon Fellowships in Critical Bibliography at Rare Book School
The Shakespeare Conference: SHK 24.0487 Tuesday, 22 October 2013
From: Donna Sy <
Date: October 18, 2013 4:46:23 PM EDT
Subject: Mellon Fellowships in Critical Bibliography at Rare Book School
Rare Book School welcomes applications from scholars of Shakespeare to the Andrew W. Mellon Fellowship of Scholars in Critical Bibliography. The aim of this Mellon Foundation-funded fellowship program is to reinvigorate bibliographical studies within the humanities by introducing doctoral candidates, postdoctoral fellows, and junior faculty to specialized skills, methods, and professional networks for conducting advanced research with material texts. RBS selected its first twenty Mellon Fellows in the spring of 2013, and will admit an additional twenty fellows to the program in the spring of 2014.
Fellows will receive funding for Rare Book School course attendance, as well as generous stipends, and support for research-related travel to special collections, over the course of three years. Weeklong intensive courses at Rare Book School cover topics such as paleography, codicology, scholarly editing, and the history of the book.
The deadline for application to the program is DECEMBER 2, 2013. Applicants must be doctoral candidates (post-qualifying exams), postdoctoral fellows, or junior (untenured) faculty in the humanities at a U.S. institution at time of application. Interested scholars are encouraged to apply as soon as possible. For more details, please visit:
Donna A. C. Sy
Mellon Fellowship Program Director
Rare Book School
RARE BOOK SCHOOL RECEIVES MELLON FOUNDATION GRANT TO SUPPORT FELLOWSHIPS IN CRITICAL BIBLIOGRAPHY
Fellowship program seeks to reinvigorate bibliographical studies within the humanities
Charlottesville, VA, October 17, 2013 – Rare Book School (RBS) at the University of Virginia has been awarded a $783,000 grant from the Andrew W. Mellon Foundation to extend and augment its three-year fellowship program, the Andrew W. Mellon Fellowship of Scholars in Critical Bibliography, which was established in 2012 through funding from the Foundation. The aim of the program is to reinvigorate bibliographical studies within the humanities. RBS selected its first twenty Mellon Fellows in the spring of 2013, and will admit an additional twenty fellows to the program in the spring of 2014.
The Mellon Fellowships at Rare Book School will enable a select group of doctoral candidates, postdoctoral fellows, and junior faculty in the humanities to receive advanced, intensive training in the analysis of textual artifacts. Led by a distinguished faculty drawn from the bibliographical community and professionals in allied fields, fellows will attend annual research-oriented seminars at Rare Book School and at major special collections libraries nationwide. Fellows will also receive stipends to support research-related travel to special collections, and additional funds to host academic symposia at their home institutions.
“I am grateful to the Foundation for its generous support of our Mellon Fellowship program, which seeks to help early-career humanities scholars incorporate bibliographical and book-historical methods into their research and teaching,” said RBS Director Michael F. Suarez, S.J. “We intend to build on the successes of the first phase of our Mellon Fellowship program by encouraging a more extensive collaborative dialogue among our fellows, who will continue to represent a wide variety of disciplines, ranging from musicology and the digital humanities to art history and American studies.”
The deadline for application to join the program’s second cohort of fellows is December 2, 2013. More information about the Andrew W. Mellon Fellowship of Scholars in Critical Bibliography is available at: http://www.rarebookschool.org/fellowships/mellon.
About Rare Book School (RBS)
Rare Book School provides continuing-education opportunities for students from all disciplines and levels to study the history of written, printed, and born-digital materials with leading scholars and professionals in the fields of bibliography, librarianship, book history, manuscript studies, and the digital humanities. Founded in 1983, RBS moved to its present home at the University of Virginia in 1992. RBS is a not-for-profit educational organization affiliated with the University of Virginia. More information about RBS is available on its website: http://www.rarebookschool.org.
For more information, contact:
Jeremy Dibbell, Director of Communications & Outreach
Rare Book School
Harry Lennix to Screen Shakespeare Adaptation in Memphis
The Shakespeare Conference: SHK 24.0482 Wednesday, 16 October 2013
From: Newstok_Scott <
Date: October 16, 2013 5:48:21 AM EDT
Subject: Harry Lennix to Screen Shakespeare Adaptation in Memphis
Harry Lennix to screen Shakespeare adaptation in Memphis, November 2
In 2008, Rhodes College hosted the symposium “Shakespeare in Color,” which explored African American adaptations and appropriations of “Macbeth.” This conference led to the 2010 collection of essays “Weyward Macbeth: Intersections of Race and Performance.”
One of the symposium participants, Hollywood actor Harry Lennix (who starred in Julie Taymor’s 1999 film “Titus Andronicus”), recently produced an adaptation of Shakespeare’s “Henry IV” plays. “H4” is set in contemporary Los Angeles in order to explore political struggles in the black community:
“H4” will be screened at the Indie Memphis Film Festival (9pm, November 2, Playhouse on the Square).
Lennix and screenwriter Ayanna Thompson (GWU) are scheduled to attend and participate in a Q&A after the screening.
Co-sponsored by the Pearce Shakespeare Endowment; African American Studies and Film Studies at Rhodes College; African and African American Studies at the University of Memphis; and presented in collaboration with Hattiloo Theatre and Indie Memphis.
Please contact Scott Newstok (
) for further information.
Shakespeare at Rhodes