RSC Summer 2015 Season Is Announced
The Shakespeare Conference: SHK 25.393 Tuesday, 9 September 2014
From: Hardy M. Cook <
Date: September 3, 2014 at 7:22:57 PM EDT
Subject: RSC Summer 2015 Season Is Announced
Today (Wednesday 3 September) we revealed details of our summer 2015 plays, including our 'Venice' season, and marking 100 years since playwright Arthur Miller's birth.
Miller’s Death of a Salesman, directed by Gregory Doran, with Antony Sher as Willy Loman and Alex Hassell as his eldest son, Biff, will play in the Royal Shakespeare Theatre from March 2015.
In the Royal Shakespeare Theatre (RST), Iqbal Khan will direct Othello, with Hugh Quarshie in the title role and Lucian Msamati as Iago. Polly Findlay will direct The Merchant of Venice.
In the Swan Theatre three contemporary takes on classic plays in the Swan Theatre explore the idea of the ‘outsider’:
Trevor Nunn directs Henry Goodman in the title role of Ben Jonson’s Volpone.
Justin Audibert and Matthew Dunster make RSC directing debuts with The Jew of Malta by Christopher Marlowe and Love's Sacrifice by John Ford
New ‘First Encounter with Shakespeare’ tour:
The Famous Victories of Henry V tours partner schools and theatres across England in a new production specially for young people.
The play, directed by Owen Horsley, condenses the three great plays of Henry IV Parts I & II and Henry V into a 90-minute adventure for eight to 13 year olds.
The Shakespeare Conference: SHK 25.392 Tuesday, 9 September 2014
From: Hardy M. Cook <<
Date: September 3, 2014 at 10:15:05 AM EDT
Subject: RSC Histories
RSC Artistic Director Gregory Doran and the creative team that brought you the acclaimed production of Richard II continue their exploration of Shakespeare’s History plays at the Barbican with 1 Henry IV and 2 Henry IV: 29 November 2014 to 24 January 2015.
The second and third play in Shakespeare's series of histories covering the reigns of Richard II, Henry IV and Henry V. Shakespeare muses on the consequences of actions, the role of princes and the realities of wielding power.
RSC Associate Artist Antony Sher returns to the Company to play the infamous comic knight Falstaff. He is joined by Jasper Britton as Henry IV, Alex Hassell as Prince Hal and Paola Dionisotti as Mistress Quickly. Jasper returns following his performances in The Taming of the Shrew/The Tamer Tamed (2003). Alex returns to the RSC following his recent credits in A Midsummer Night's Dream, Cardenio and The City Madam (2011).
With his crown under threat from enemies both foreign and domestic, Henry IV prepares for war. As his father gets ready to defend his crown, Prince Hal is languishing in the taverns and brothels of London, revelling in the company of his friend, the notorious Sir John Falstaff. With the onset of war, Hal must confront his responsibilities to family and throne.
King Henry’s health is failing but he is uncertain Hal is a worthy heir. Meanwhile, Falstaff is sent to the countryside to recruit fresh troops, where he gleefully indulges in the business of lining his own pockets. As the King’s health continues to worsen, Hal must choose between duty and loyalty to an old friend in Shakespeare’s heartbreaking conclusion to this pair of plays.
Each part is 2 hours 45 mins/plus a 20-min interval
Announcement: Digital Acting Parts
The Shakespeare Conference: SHK 25.391 Tuesday, 9 September 2014
From: Laura Estill <
Date: September 4, 2014 at 10:51:59 AM EDT
Subject: Announcement: Digital Acting Parts
Announcement: Digital Acting Parts
Are your students performing Shakespeare? Is your theatre doing a Shakespeare show? We built a tool to help! Check it out: http://digitalactingparts.tamu.edu/
In the early modern period, rather than having access to a full-text play, actors learned their lines using “Actors’ parts,” hastily handwritten documents that provided them with only their cues and lines. Traditionally, today’s actors learn their lines from full-text plays, without any computer assistance. Digital Acting Parts (DAP) is an online environment that both mimics and enhances the early modern acting experience in order to facilitate actors learning their lines. DAP is the first project to give users an interactive experience with an early-modern-inspired “actor’s part,” which encourages both active reading and memorization, in turn leading to a better understanding of the texts themselves.
Digital Acting Parts was created by Laura Estill (
) and Luis Meneses (
) in the Initiative for Digital Humanities, Media, and Culture at Texas A&M. We welcome your feedback.
Assistant Professor of English
Texas A&M University
Editor, World Shakespeare Bibliography
Latest Issue of Cahiers Elisabéthains
The Shakespeare Conference: SHK 25.390 Tuesday, 9 September 2014
From: Jean-Christophe MAYER <
Date: September 7, 2014 at 1:52:31 PM EDT
Subject: Latest Issue of Cahiers Elisabéthains
Dear List Members,
The latest issue of Cahiers Elisabethains is now available: Cahiers Elisabethains 85 (2014), Manchester University Press.
For more details about subscriptions and information about the journal please got to:
Jean-Christophe Mayer and Nathalie Vienne-Guerrin
Judicious, sharp spectators? Form, Pattern and Audience in Early Modern Theatre: Some Problems
C. W. R. D. Moseley
Shakespeare at Work: Four Kings and Two Shrews
Within / This ruined cottage’: Witchcraft, Domesticity and Inwardness in The Witch of Edmonton
Carducci Reads Marlowe: Dante and Doctor Faustus (B-Text)
The 1574 Mirour for Magistrates as a possible source of ‘Feath’red King’ in Shakespeare’s ‘The Phoenix and the Turtle’
Richard M. Waugaman
PERFORMANCE IN CONTEXT ARTICLE
The reflective part of man: Javor Gardev’s Bulgarian Shakespeares
The 2013 Stratford, Ontario, Shakespeare Festival Plays: Measure for Measure, The Tom Patterson Theatre, 26 June 2013; Romeo and Juliet, directed by Tim Carroll, The Festival Theatre, 27 June 2013; Othello, directed by Chris Abraham, The Avon Theatre, 13 August 2013; The Merchant of Venice, directed by Antoni Cimolino, The Festival Theatre, 31 August 2013
Dana E. Aspinall
Henry V, directed by Paul Mullins, Shakespeare Santa Cruz, Sinsheimer-Stanley Festival Glen, Santa Cruz, California, 9 August, 2013.
Romeo and Juliet, directed by Bobbie Steinbach & Allyn Burrows for the Actors’ Shakespeare Project, The Strand Theatre, Dorchester, Massachusetts, 12 October 2013; Romeo and Juliet, directed by David Leveaux, Richard Rodgers Theatre, 226 West 46th Street, New York City, 7 November 2013
Richard J. Larschan
The Massacre at Paris, by Christopher Marlowe, directed by Jeremy L. West, Blackfriars Playhouse, Staunton, Virginia, 24 June 2013, rear stalls centre.
Macbeth, directed by Jacquelyn Bessell for the Performance Research Group, salle Dugès, Faculté de Médecine, Montpellier, 29 June 2013
Richard II, directed by Claus Peymann for the Berliner Ensemble and the Vienna Burgtheater, Printemps des Comédiens, Amphithéâtre d’O, Montpellier, 26 June 2013
Macbeth, directed by Laurent Pelly and translated by Jean-Michel Déprats, Théâtre des Amandiers, Nanterre, 5 and 12 October 2013
Le Conte d’hiver (The Winter’s Tale), translated by Daniel Loayza, directed by Patrick Pineau, La Coursive, Scène nationale, La Rochelle, 13 November 2013
Othello, directed by Jack Nieborg for Shakespeare Theater Diever, Diever, The Netherlands, 21 August 2013.
Dido, Queen of Carthage, directed by Perry Mills for Edward’s Boys, Levi Fox Hall, Stratford-upon-Avon, 20 September 2013
Peter J. Smith
Richard II, directed by Gregory Doran, Royal Shakespeare Theatre, Stratford upon Avon, 21 October 2013
Peter J. Smith
Antony and Cleopatra, edited and directed by Tarell Alvin McCraney, The Swan Theatre, Stratford-upon-Avon, 14 November 2013
Peter J. Smith
Macbeth (The Notes), adapted and directed by Dan Jemmett, Sortie Ouest, Béziers, France, 15 January 2014
Florence March and Janice Valls-Russell
Ruth Morse, Helen Cooper, and Peter Holland, eds, Medieval Shakespeare: Past and Presents (Cambridge, Cambridge University Press, 2013)
Shakespeare’s Erotic Mythology and Ovidian Renaissance Culture, edited by Agnès Lafont (Farnham, Surrey, Ashgate, 2013)
Farah Karim-Cooper and Tiffany Stern (eds), Shakespeare’s Theatres and the Effects of Performance (London & New York, Bloomsbury, 2013)
Kevin A. Quarmby, Oxford College of Emory University
Paul Edmundson, Paul Prescott and Erin Sullivan, eds., A Year of Shakespeare: Reliving the World Shakespeare Festival, The Arden Shakespeare (London & New York, Bloomsbury, 2013)
Nathalie Rivère de Carles
Alexa C. Y. Huang, Weltliteratur und Welttheater: Ästhetischer Humanismus in der kulturellen Globalisierung (Bielefeld, Transcript Verlag, 2012)
2014 Shakespeare Colloquium at FDU
The Shakespeare Conference: SHK 25.389 Tuesday, 9 September 2014
From: Harry Keyishian <
Date: September 7, 2014 at 12:13:04 PM EDT
Subject: 2014 Shakespeare Colloquium at FDU
2014 Shakespeare Colloquium at Fairleigh Dickinson University
October 18 is the date of the 2014 annual Shakespeare Colloquium at Fairleigh Dickinson University’s College at Florham campus in Madison, NJ. This marks the 22nd year of these day-long events. The Colloquium runs from 9:30 a.m. to 3:30 p.m.
This year’s provocative topic is “Shakespeare Bad and Shakespeare Wrong: Rethinking the Shakespearean.” Four scholars will discuss what can be learned by “bad” and “wrong” Shakespeare—in performance and in scholarship—and what the differences are.
Dr. Zoltán Márkus (Vassar College) asks what kind of ethical assumptions, implications, or judgments are involved in distinguishing “bad” Shakespeare” from “wrong” Shakespeare. Dr. Iska Alter (Hofstra University) will discuss how and why Shakespeare was produced in Nazi Germany. Dr. Donovan Sherman (Seton Hall University) shows how the “wrongness” of Roland Emmerich’s 2011 film Anonymous reflects on our practices as readers and audiences of Shakespeare. Finally, Dr. Emily Weissbourd (Bryn Mawr College), through a discussion of Othello and the Spanish drama of its time, shows the difference between modern and Renaissance ideas of race, servitude and interracial marriage
Director, Fairleigh Dickinson University Press
Department of Literature, Language, Writing, and Philosophy
Fairleigh Dickinson University
The Merry Wives of Windsor: New Critical Essays
The Shakespeare Conference: SHK 25.388 Tuesday, 9 September 2014
From: Evelyn Gajowski <
Date: September 5, 2014 at 3:38:39 PM EDT
Subject: The Merry Wives of Windsor: New Critical Essays
Dear Fellow SHAKSPER members,
I’m pleased to announce that Routledge in London will publish The Merry Wives of Windsor: New Critical Essays, edited by Phyllis Rackin and myself, on 18 Sept. 2014. Please see the attached publicity flyer and the following link for details --
If you would ask your institutional librarian to order a copy and consider ordering a copy yourself, we would be grateful.
All the best,
Professor of English
Department of English
University of Nevada, Las Vegas
Co-Editor (with Phyllis Rackin), The Merry Wives of Windsor: New Critical Essays, Routledge
Series Editor, Arden Shakespeare and Theory Series
Flyer: MMW Flyer (958.34 kB)
SAA Seminar Registration Deadline: 15 September
The Shakespeare Conference: SHK 25.387 Tuesday, 9 September 2014
From: Hardy M. Cook <
Date: September 4, 2014 at 11:42:50 AM EDT
Subject: SAA Seminar Registration Deadline: 15 September
To all SAA members,
If you plan to take part in a seminar or workshop at the upcoming year’s SAA meeting in Vancouver but have not yet registered, please note that the registration deadline is fast approaching: 15 September. For descriptions of the year’s programs, visit the seminar description page.
You may register online on the seminar and workshop page, where you will be required to submit four choices. SAA enrollments are processed on a first-registered, first-received basis. Although we make every effort to place you in your first-choice seminar or workshop, registration imbalances can render this impossible. In early October, you will receive notification of your seminar placement and an invitation to take part in the SAA’s Forty-Third Annual Meeting.
The conference will be held 1 - 4 April 2015. The meeting will open with a first group of seminars and workshops at 10:30 a.m. on the morning of Thursday, 2 April and will close with the annual dance late Saturday, 4 April. Our host hotel is the historic Fairmont Vancouver. Rooms are discounted to $135.00 USD per night for single and double occupancy; mandatory state and local taxes will be added at the current rate of 15 percent. The SAA has negotiated complimentary guestroom internet access at the Fairmont. The meeting registration fee, payable starting 1 January 2015, is $125 for faculty and postdoctoral scholars and $90 for graduate students.
For those members interested in presenting new projects at the 2015 Digital Salon the deadline for proposals is 1 November. Proposals may be submitted on the SAA digital salon page.
Many of you will be interested in attending the Tenth World Shakespeare Congress in the summer of 2016. The 400th anniversary of Shakespeare’s death will be marked with a conference that opens in Stratford-upon-Avon and travels to London. If you have not yet submitted a proposal for a seminar, workshop, or panel—but would like to—you will be glad to know that the deadline has been extended to 31 October 2014. For further information about the submission of proposals, please visit http://wsc2016.wordpress.com/call-for-papers/. Those wishing to find co-chairs for seminar sessions are invited to use the noticeboard facility on the website at http://wsc2016.wordpress.com/noticeboard/.
I send greetings on behalf of Executive Director Lena Orlin who is currently on leave and Assistant Director Joseph J. Navitsky. We all hope to see you in Vancouver.
With best regards,
Senior Programs Manager
ISA Call for Submissions – Extended Deadline
The Shakespeare Conference: SHK 25.386 Tuesday, 9 September 2014
From: Hardy M. Cook <
Date: September 3, 2014 at 6:08:17 PM EDT
Subject: Call for Submissions – Extended Deadline
CALL FOR SUBMISSIONS – EXTENDED DEADLINE
International Shakespeare Association
10th World Shakespeare Congress 2016:
‘Creating and Re-creating Shakespeare’
31 July to 6 August, 2016
London and Stratford-upon-Avon
The year 2016 marks four hundred years of popular, artistic, and scholarly enthusiasm for Shakespeare’s life and works. We justly celebrate Shakespeare as a creator of plays and poems, characters and ideas, words and worlds. But so too, in the centuries since the playwright’s death in 1616, have scholars and thinkers, writers, artists, and performers—of all kinds and from around the globe—re-created him. In such perpetual reinventions of Shakespeare we seem to have confirmation of Ben Jonson’s words: Shakespeare was “not of an age, but for all time”.
The tenth World Shakespeare Congress of the International Shakespeare Association will honour Shakespeare’s 400-year legacy and celebrate the continuing global resonance of his work. The Congress’s rich programme of plenary lectures, seminars, panels, workshops, events, and performances will take place across two successive locations: first in Stratford-upon-Avon, among the key sites of Shakespeare’s personal life; and subsequently in London, close to the site of his most famous workplace, the Globe theatre. WSC 2016 will offer unparalleled opportunities to engage with current Shakespeare performance, criticism, and pedagogy, and to connect with fellow Shakespeareans from around the world.
The Congress organisers welcome proposals for papers, panels, workshops, and other events (including performances and other creative responses) relating to any aspect of Shakespeare’s work, life, and continuing legacy.
Proposals of 500 words for seminars, panels, and workshops may be submitted to
Workshops and seminars should be co-hosted with at least one other delegate. The Congress is an international event, and, as such, potential co-hosts are strongly encouraged to collaborate with delegates from other countries or geographical regions. Proposers will understand that there will be more space for seminars than panels on the conference programme.
Deadline for submissions: 31 October 2014
Those submitting proposals should ensure that their membership of the ISA is current.
Financial donations to the World Shakespeare Congress are greatly appreciated. All such donations will be used to provide grant subsidies for early-career scholars and delegates from countries with less competitive economies. For further information please write to
We look forward to welcoming delegates and their families and friends in the summer of 2016.
Globe Education, Shakespeare’s Globe
Royal Shakespeare Company
Shakespeare Birthplace Trust
Shakespeare Institute, University of Birmingham
London Shakespeare Centre, King’s College London
Holy Trinity Church
King Edward VI Grammar School
Problem Sending Newsletters
The Shakespeare Conference: SHK 25.385 Tuesday, 9 September 2014
From: Hardy M. Cook <
Date: Tuesday, September 9, 2014
Subject: Problem Sending Newsletters
Dear SHAKSPER subscribers,
SHAKSPER was located to a new server while I was in the UK. Since then there have been problems with the send mail function that are still to be worked out.
I hope that I have found a way around the problem until it is fixed.
Accept my apologies and bear with me.
IMPORTANT SHAKSPER Appointments
The Shakespeare Conference: SHK 25.381 Thursday, 28 August 2014
From: Hardy M. Cook <
Date: Thursday, August 28, 2014
Subject: IMPORTANT SHAKSPER Announcements
During the summer, I have been seeking volunteers to assist me with some of the SHAKSPER operations.
Since I was away for most of the summer, I have not had a sustained period to work through those who have volunteered and how I might use those persons.
Tonight, I am announcing my first two appointments of SHAKSPER Contributing Editors.
Assistant Professor of English, Louise Geddes of Adelphi University in Garden City, NY, will be Contributing Editor in change of the Festivals and Plays section of the SHAKSPER web site.
Louise Geddes is an Assistant Professor of English at Adelphi University. She has just completed her first manuscript, Pyramus and Thisbe: The Stage Histories of Shakespeare’s Unruly Play, which reflects her interests in Shakespeare’s role as a maker of theatrical manners. One article from this monograph has been published in Shakespeare Bulletin and another is forthcoming in MaRDiE. Her current research centers on the death of political theatre in contemporary British drama. Her article “The Bite of the Right in Thatcher’s England: Jacobean Presentism and Howard Barker’s Women Beware Women” was recently published in Upstart: A Journal of English Renaissance Studies, and “A Mad Art, My Masters: Theatre and Usable Culture in Late Twentieth-Century Britain” is forthcoming in ILS. Beginning this year, Louise is also a contributor at YWES.
All suggestions, additions, or changes should be sent to Professor Geddes at
Associate Professor of English Annalisa Castaldo from Widener University in Chester, PA, will be SHAKSPER Contributing Editor in charge of coordinating the SHAKSPER Book Review Panel for the SBReviews.
Annalisa Castaldo received her PhD from Temple University. She is an associate professor of English at Widener University in Chester, PA where she teaches Shakespeare and other early modern works. She has worked closely with the Philadelphia Shakespeare Theater in Philadelphia in numerous roles and has edited Henry V, Henry VI: 1-3 and Macbeth (Focus editions). Her scholarly interests include performance history, Shakespeare in pop culture, and gender representations on the early modern stage.
Any suggestions for possible books to review should be sent to Professor Castaldo at
and copied to me at
Please join in welcoming Louise and Annalisa to what I hope will be the ever expanding family of SHAKSPER Contributing Editors.