1993

Re: Jewish Stereotypes; Sly and Induction

Shakespeare Electronic Conference, Vol. 4, No. 554.  Wednesday, 15 Sept. 1993.
 
(1)     From:   Jay L Halio <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Tuesday, 14 Sep 1993 10:50:48 -0400 (EDT)
        Subj:   Re: SHK 4.0542 Jewish Stereotypes
 
(2)     From:   Dennis Kennedy <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Tuesday, 14 Sep 1993 19:47 EST
        Subj:   Re: SHK 4.0539  Re: Christopher Sly and Induction
 
(3)     From:   Nate Johnson <LHT@CORNELLA>
        Date:   Tuesday, 14 Sep 93 20:52:18 EDT
        Subj:   *Taming of the Shrew* Induction
 
 
(1)----------------------------------------------------------------------------
From:           Jay L Halio <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Tuesday, 14 Sep 1993 10:50:48 -0400 (EDT)
Subject: 4.0542 Jewish Stereotypes
Comment:        Re: SHK 4.0542 Jewish Stereotypes
 
> Some months ago, there was a discussion of Shylock and Co. which I have no
> desire to reopen, but suddenly I find myself in need as quickly as possible of
> all possible sources on Jewish stereotypes in the late middle ages and
> Renaissance. I'd welcome help here.  Can you lead me to primary and secondary
> sources that will help inform a panel I have been asked by the Hartford Stage
> Co. to lead on stereotypes (Hartford Stage is, guess what, doing The Merchant
> of Venice). Thanks.
>
> Milla Riggio
 
See John Gross's book, *Shylock*, recently published. My edtion of
*Merchant* is imminent from Oxford U.P. and has some useful info, too.
 
Jay Halio
 
(2)----------------------------------------------------------------------------
From:           Dennis Kennedy <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Tuesday, 14 Sep 1993 19:47 EST
Subject: 4.0539  Re: Christopher Sly and Induction
Comment:        Re: SHK 4.0539  Re: Christopher Sly and Induction
 
It's reasonably common now to open with the Sly Induction.  Then, three
choices: use the material from Taming of A Shrew that follows Sly through;
rewrite that material or write new stuff; forget about Sly textually and
leave him on stage, or bring him back on stage occasionally, as a mute
commentator.  Or, as Bogdanov did in 1977, turn him into the Petruchio.
 
The stage histories by Holderness and by Haring Smith will fill in some
detail.  For an overview, look at Samuel Leiter's Shakespeare Around the
Globe, which give capsule treatments for the period 1945-85.
 
Hello, Ron.
 
(3)----------------------------------------------------------------------------
From:           Nate Johnson <LHT@CORNELLA>
Date:           Tuesday, 14 Sep 93 20:52:18 EDT
Subject:        *Taming of the Shrew* Induction
 
Two or three years ago I saw a touring production by (I think) the
National Shakespeare Company which staged both the Induction and
a contrived conclusion.  The setting, Wells College, made the play's
gender dynamics all the more poignant.  If memory serves, Sly roamed
the audience during scene changes (or was it only during intermission)
and as the spectators near him grew aware of his belching, snoring
presence, a ripple of laughter would spread from wherever he happened
to sit down.  I don't think the other characters from the Induction
returned to stage (probably doubled parts, but I've lost the program)
except to intervene when Sly interrupted the Vincentio/Merchant scene
with "There'll be no going to prison here."  At the end of the play,
Sly woke up by himself (echoes of Bottom) and delivered a speech on
his amazing dream: "I dreamt I was in a college of women who admired me..."
(much laughter).  I'm sorry my memory isn't more detailed.
 
--Nate Johnson

Re: Shakespeare, Politics, The Globe, Wanamaker

Shakespeare Electronic Conference, Vol. 4, No. 553.  Wednesday, 15 Sept. 1993.
 
(1)     From:   Joseph Lawrence Lyle <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Tuesday, 14 Sep 1993 12:05:14 -0400
        Subj:   Re: Shakespeare's Politics and Wanamaker's Globe
 
(2)     From:   Gabriel Egan <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Tuesday, 14 Sep 93 16:37:37 +0100
        Subj:   Re: Shakespeare's Politics and Wanamaker's Globe
 
(3)     From:   Robert O'Connor <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Wednesday, 15 Sep 1993 12:18:54 +0700
        Subj:   Shakespeare, The Globe, Politics, Wanamaker . . . . . . . .
 
(4)     From:   Terence Hawkes <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Wednesday, 15 Sep 93  14:35 BST
        Subj:   Re: Shakespeare's Politics and Wanamaker's CBE
 
 
(1)----------------------------------------------------------------------------
From:           Joseph Lawrence Lyle <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Tuesday, 14 Sep 1993 12:05:14 -0400
Subject:        Re: Shakespeare's Politics and Wanamaker's Globe
 
Re James McKenna's observation that "politics" does not seem to exhaust the
experience of Shakespeare:
 
There is a middle ground.  The left (to speak reductively) argues that we are
merely politics; the right (to speak reductively) argues that we transcend
politics.  But politics are not "mere" politics.  The left is correct that we
are largely constructed within certain political circumstances; the right is
correct that we continue to feel, to whatever extent, free, individual,
subjective, singular.  When the politics of subjectivity is argued
intelligently, it neither debases subjectivity nor dismisses politics; rather,
both can be conceived as what we live.  (This argument occurs in a rather
different form in Stephen Fallon's *Milton Among the Philosophers).
 
Tentatively--
Jay Lyle
 
(2)----------------------------------------------------------------------------
From:           Gabriel Egan <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Tuesday, 14 Sep 93 16:37:37 +0100
Subject:        Re: Shakespeare's Politics and Wanamaker's Globe
 
>Lastly, reality (to some extent an automatic contradiction in terms, both in
>the theatre and in electronic interactions). In one important sense modern
>practice is to move AWAY from reality.  Shakespeare has very few parts for
>non-White actors or actresses, so now they are accepted in other parts.  We now
>have close blood relatives (say two brothers) totally different colours in a
>production.  Is this closer to 'reality'? -- clearly not.  Does it require a
>new leap in the 'willing suspension of disbelief? -- absolutely.  I admit to
>having had serious doubts about this change myself, on precisely those grounds.
>A first class Ghanaian as Mercutio, in the RST Stratford, changed my views:  I
>would have been the poorer if he had not been allowed to play that role (and
>obviously there are major employment/career implications for any actor/ actress
>who is not White).  So here is one way we have recently (last decade, mainly)
>moved away from reality, and I applaud it.  And Shakespeare himself clearly
>plays with reality, rather than always trying to maximize the audience's sense
>of it:  the play within a play in Hamlet, Chorus in Henry V.
 
How did you feel about Denzel Washington playing Don Pedro in Branagh's
recent *Much Ado...*? I have scene a production at the National Theatre
in London of *King Lear* in which the choice of a black actor to play
Edmund (a bastard) seemed deliberately to make a point. I took the point
to be that Edmund's inferior social position and disinheritance was in
some way analogous to the oppression of black people. Would anyone,
especially those who saw this production (RSC at the National, South
Bank, Brian Cox as Lear, Ian McKellen as Kent, November 1990 I think)
care to say what they make of this? As for Washington as Don Pedro, the
presence of a black man as successor in a legitimate blood-line and
a white man as the illegitimate, struck me as interesting but not
necessarily intended to make a point. Does anyone think Branagh
(assuming it was his decision as director) wanted to make a point
of not making a point? IE that we have reached a point where we
just accept actors as actors and do not notice colour. I agree there
are major employment implications surrounding this subject, and
do not have a firm opinion myself. Since 'realism' generally prevents
women from playing men's roles and vice versa these days, is there a
different principle needed for black people playing white and
vice versa? Does anybody know the ratio of men to women in the
acting profession - there are (I think) more male parts in the
canon than female.
 
Gabriel Egan
This email address is being protected from spambots. You need JavaScript enabled to view it.
 
(3)----------------------------------------------------------------------------
From:           Robert O'Connor <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Wednesday, 15 Sep 1993 12:18:54 +0700
Subject:        Shakespeare, The Globe, Politics, Wanamaker . . . . . . . .
 
Dear SHAKSPEReans
 
Guilty!
 
An innocent query of mine about the Globe Reconstruction - inspired at
least in part by a recent vist by Andrew Gurr, and Christine Eccles' book -
seems to have set off quite a debate.
 
But I do wonder - with some other correspondents - what the relevance of
the nationality of the chief instigator of the project has, or indeed any
awards he may have garnered.  Isn't this, in the classic phrase, getting a
little far from the text?
 
I recently saw Olivier's 'Henry V' again, for the first time in about five
years, and it bought back to me something that Andrew Gurr said while he
was here in Canberra, namely that none of the people involved in the
project expect it to answer all the questions about Elizabethan staging and
performance, to say nothing of the questions the project itself seems to
have raised.  Olivier's film presented his own (highly amusing, if nothing
else) picture of an Elizabethan playhouse in its hey-day; we all know there
are any number of such pictures idling in the minds of Shakespearean
scholars and historians.  Professor Gurr also suggested that one of the
things the Globe Centre will have to do, once it was up and running, is
spend several years simply experimenting with the stage and the space and
so on.  I for one will be more than happy to learn (and, if I am very
lucky, lost out here in the antipodes, see) the results of these
experiments.  But I don't expect them to settle anything.  Likewise, if
there is anything I have learned thus far, half-way through my PhD, it is
not tom expect any resolution of debates about Shakespeare and politics.
Fascinating, all the same.
 
Irrelevant side-note: having recently moved into a postgrad-only college
here at ANU, I have had a number of people in various fields asking me the
old question: is there anything left in Shakespeare to write about.  I wish
I could have shown some of them excerpts of this debate!
 
    Robert F. O'Connor
    This email address is being protected from spambots. You need JavaScript enabled to view it.
    English Department
    Australian National University
 
(4)----------------------------------------------------------------------------
From:           Terence Hawkes <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Wednesday, 15 Sep 93  14:35 BST
Subject:        Re: Shakespeare's Politics and Wanamaker's CBE
 
To Kenneth Rothwell:
 
Hallo Ken! Of course I can only share your delight when Commanderships
of the British Empire are doled out to deserving citizens of the US.
My idea that the term 'British Empire' might have a special resonance for
a citizen of the Republic clearly has no historical or material basis.
Silly old me. As for the absurd notion that Shakespeare might -just ever
so marginally- have been used as part of various political strategies from
time to time, well I'm genuinely relieved to hear that the Bard inhabits
a sphere beyond that sort of thing. Thank God no one ever thought of doing
a film, say, of Henry V before the D-Day landings. What a disaster that would
have been! Blair Kelly's mention of the British Imperial Shakespeare
Society can only be inflammatory in the circumstances. Is he some sort
of Cultural Materialist?
 
See you in Stratford!
 
Terry Hawkes

CFP: Computers & Texts

Shakespeare Electronic Conference, Vol. 4, No. 551.  Tuesday, 14 Sept. 1993.
 
From:           Stuart Lee <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Tuesday, 14 Sep 1993 14:30:00 BST
Subject:        _Computers & Texts_ CALL FOR PAPERS
 
Computers & Texts CALL FOR PAPERS
 
Newsletter of the CTI Centre for Textual Studies
 
Computers & Texts has now been running for over two years and is the newsletter
of the Computers in Teaching Initiative Centre for Textual Studies, based at
Oxford University Computing Services. It has a selection of short articles
relating to computer-aided learning in textual studies, a section devoted to
the Office for Humanities Communication, and has a mailing of over 2,000
world-wide. This issue will concentrate on software development.
 
Format: Submissions should be of approximately 1000 words although this is open
to discussion with the editors. Footnotes should be limited and placed at the
end of the article. References to published works should be of the form (Smith,
1992) with full bibliographical details given at the end of the article. Screen
dumps are accepted, preferably in TIFF or PICT format for the Macintosh.
 
Deadline: 15 October, 1993
 
Computers & Texts (issue 6)
This issue will continue on from some of the themes explored in Computers &
Texts 5. In the last issue problems of integrating software into the classroom
were discussed. In this issue we would like to focus on the pedagogical
implications of the designing and creation of new software. We would like
contributions from anyone who has written their own software with relation to
the teaching of humanities subjects, in particular those of literature,
linguistics, classics, theology, theatre arts & drama. Material is especially
welcome on interface design, structuring the software, and evaluation
procedures.
 
Send all details to:
 
Lorna Hughes or Stuart Lee
Research Officers
CTI Centre for Textual Studies
Oxford University Computing Services
13 Banbury Road
Oxford
OX2 6NN
Tel:0865-273221
Fax:0865-273221
E-mail: This email address is being protected from spambots. You need JavaScript enabled to view it.

Re: Shakespeare Reading Groups

Shakespeare Electronic Conference, Vol. 4, No. 552.  Wednesday, 15 Sept. 1993.
 
(1)     From:   Fran Teague <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Tuesday, 14 Sep 93 10:07:48 EDT
        Subj:   Re: SHK 4.0550  Q: Shakespeare Reading Groups
 
(2)     From:   Jon Enriquez <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Tuesday, 14 Sep 1993 18:00:31 -0400 (EDT)
        Subj:   Re: SHK 4.0550  Q: Shakespeare Reading Groups
 
(3)     From:   Cary M. Mazer <This email address is being protected from spambots. You need JavaScript enabled to view it. >
        Date:   Wednesday, 15 Sep 93 9:33:59 EDT
        Subj:   B.E.S.S.
 
 
(1)----------------------------------------------------------------------------
From:           Fran Teague <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Tuesday, 14 Sep 93 10:07:48 EDT
Subject: 4.0550  Q: Shakespeare Reading Groups
Comment:        Re: SHK 4.0550  Q: Shakespeare Reading Groups
 
There's quite a lot about a reading group in the Joseph Crosby letters at the
Folger.  John Velz and I edited excerpts of this collection under the title
_"One Touch of Shakespeare"_ for the Folger Press.  I also did a little note on
the reading club for Shakespeare Newsletter long ago and would be happy to send
you a copy if you send my your surface/snail mail address.
 
Michael Bristol's book on Shakespeare in America has some interesting info on
the various American Shakespeare Societies, and I believe Georgianna Ziegler's
collection on Furness has as well if my memory is not completely wonky.
 
WARNING:  Bad joke follows.  The reference to surface/snail mail above reminds
me of a joke.  Junk mail, as we can surely all agree, is annoying.  People
often notice that the junk mail that comes in over a computer network is
really more annoying than that received in the surface mail.  The reason, of
course, is obvious:  The e-mail of the specious is far deadlier than the
snail.
 
(2)----------------------------------------------------------------------------
From:           Jon Enriquez <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Tuesday, 14 Sep 1993 18:00:31 -0400 (EDT)
Subject: 4.0550  Q: Shakespeare Reading Groups
Comment:        Re: SHK 4.0550  Q: Shakespeare Reading Groups
 
My wife's grandmother is a long-time member of a Shakespeare reading group in
her small Oregon town.  The group (I don't have an exact name) is at least 70
years old.  The impression I get is that, whatever its origins, it is mostly a
social circle rather than a literary society; I don't believe that Grandmother
is or was ever much of an actress, although that could just be my wife talking.
 
If you would like to try to contact this group, drop me a note off-list and
we'll try to pursue it, either through Grandmother or some other source.
 
Jon Enriquez
The Graduate School
Georgetown University
ENRIQUEZJ@guvax     (Bitnet)
This email address is being protected from spambots. You need JavaScript enabled to view it.     (Internet)
 
(3)----------------------------------------------------------------------------
From:           Cary M. Mazer <This email address is being protected from spambots. You need JavaScript enabled to view it. >
Date:           Wednesday, 15 Sep 93 9:33:59 EDT
Subject:        B.E.S.S.
 
I too am interested in turn-of-the-century reading groups, especially the
one you mention, which was actually called the British EMPIRE Shakespeare
Society, no doubt to generate B.E.S.S. as its acronym.  In the late 1900s
and early 1910s, B.E.S.S. sponsored not only local amateur reading groups,
but public semi-staged script-in-hand readings in London.  These were
widely sought after acting professional gigs, and at the same time universally
generally resented by actors in the profession.  B.E.S.S. could secure the
services of the actors for next to nothing, because the actors hoped the
reading might lead to a real job with a prominent actor-manager who might
be considering doing the play.  Knowing this, the actor-managers would use
B.E.S.S. and exploit the actors for a free try-out of the material.
 
Someone else who would be interested in any and all material is Jonathan
Rose, in the History department of Drew University, and
President of the Society for the History of Authorship, Reading and
Publishing (SHARP).  Rose is working on working-class reading in late
Victorian and Edwardian Britain.  To my knowledge, he is not on e-mail, so
anyone with information to share can reach him by snail mail at Drew.
 
Cary M. Mazer
University of Pennsylvania

Q: Shakespeare Reading Groups

Shakespeare Electronic Conference, Vol. 4, No. 550.  Tuesday, 14 Sept. 1993.
 
From:           Blair Kelly III <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Tuesday, 14 Sep 1993 08:56:38 -0400
Subject:        Questions about Shakespeare reading groups
 
From 1988-1991, I had the good fortune to live in Cheltenham, England.
While there I joined the Cheltenham Shakespeare Society.  This group of
amateur Shakespeareans gathers once a fortnight to read one of the
Bard's works.  Each member takes a different character and tries to put
as much acting into their voice as possible.  This was the last
surviving chapter (of which my British friends were aware) of the
British Imperial Shakespeare Society which started prior to 1900, had
chapters in various parts of the British Empire, but sadly seems to
have died around the time of the World War II.
 
When I returned to Washington, D.C., I was lucky enough to find another
reading group devoted to the Bard, the Washington Shakespeare Reading
Group, which follows a similar format.  This one had been started by an
English major (now a pastor in NW DC) in 1990.
 
Now for my questions:
 
1.  Does anyone know of any other active Shakespeare reading groups?  I
would be very much interested in contacting such.
 
2.  Does anyone know of any history of Shakespeare reading groups (and
in particular of the British Imperial Shakespeare Society)?
 
3.  Hardy - Would it be helpful to have a list of active reading groups
(with contact persons) in your directory of Shakespearean
organizations?  I can provide references to the two of which I am
aware.
 
Blair Kelly III
This email address is being protected from spambots. You need JavaScript enabled to view it.

Subscribe to Our Feeds

Search

Make a Donation

Consider making a donation to support SHAKSPER.