1994

Announcements: Reading of 2nd Maiden's Tragedy; TDR

Shakespeare Electronic Conference, Vol. 5, No. 0359.  Monday, 25 April 1994.
 
(1)     From:   Elizabeth Schmitt <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Sunday, 24 Apr 1994 13:08:11 -0500 (CDT)
        Subj:   Second Maiden's Tragedy reading
 
(2)     From:   <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Sunday, 24 Apr 1994 20:25:59 -0400 (EDT)
        Subj:   announcement: TDR (T141 Spring 1994)
 
 
(1)----------------------------------------------------------------------------
From:           Elizabeth Schmitt <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Sunday, 24 Apr 1994 13:08:11 -0500 (CDT)
Subject:        Second Maiden's Tragedy reading
 
I wanted to let anyone and everyone know who may be in the Dallas- Fort Worth
area next weekend that Stage West, a Fort Worth theatre co. will be presenting
a concert reading of "The Second Maiden's Tragedy" Sunday, May 1 at 7pm.
 
In an article appearing in this week's Dallas Observor, the reading coincides
with the publication of Charles Hamilton's book, SHAKESPEARE AND FLETCHER's
CARDENIO or THE SECOND MAIDEN'S TRAGEDY. Hamilton feels that SMT is one of "the
lost plays" based on manuscript evidence. Having read Eric Rasmussen's article
in SQ, the evidence points more towards WS making corrections and additions
rather than authoring text. In any case it will be a unique opportunity. Anyone
needing further details and directions should send a note to my e-mail.
 
Oh, there will also be a post-performance discussion. Since my SAA paper was
over SMT, you can be assured I'll be rather vocal. THose of you who I met last
week will have guessed that.
 
Hope some of y'all can be there.
 
Elizabeth Schmitt
This email address is being protected from spambots. You need JavaScript enabled to view it.
 
(2)----------------------------------------------------------------------------
From:           <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Sunday, 24 Apr 1994 20:25:59 -0400 (EDT)
Subject:        announcement: TDR (T141 Spring 1994)
 
  ...you probably heard of us, but when is the last time you read...
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          The Journal of Performance Studies  T141 (Spring 1994)
 
  TDR is the only journal that explores the diverse world of performance
  with an emphasis on the intercultural, interdisciplinary and experimental.
  It covers theater, dance, entertainment, media, sports, aesthetics of
  everyday life, politics, games, play, and ritual.
 
  Although TDR is not yet an electronic journal, you can browse through
  sample articles online, or subscribe through the Electronic Newsstand
  and via e-mail from MIT (see directions below). TDR is edited by Richard
  Schechner of the Department of Performance Studies, New York University,
  and published quarterly by MIT Press. Check out our table of contents.
 
  -------------------------------------------------------------------
  // In This Issue (T141 Spring 1994) \\
  --------------------------------------
  //Comments\\
  TDR & NEA: The Continuing Saga - TDR Comment by Richard Schechner (editor)
  In Memory of Utpal Dutt - by Sudipto Chatterjee
  In Memory of Robert W. Corrigan - by Richard Schechner
 
  //Letters\\
  Free Giveaway of His Plays - by Richard Foreman
  Marxism, Melodrama, and Theatre Historiography - Dan Gerould responds
  Eelka Lampe Responds to Masakuni Kitazawa
  Native Earth and Jennifer Preston - a letter from Alan Filewood
  Retiring or Recharging? - a letter from Richard E. Kramer
 
  //Articles\\
  Muhammed and the Virgin: Folk Dramatization of Battles Between Moors
     and Christians - by Max Harris
  "A Radiant Smile from the Lovely Lady": Overdetermined Femininity in
     "Ladies" Figure Skating - by Abigail M. Feder
  Tomas Schmit: A Fluxus Farewell to Perfection - interview by Gunther Berghaus
  Going Going Gone: Theatre and American Culture(s) - by Bradley Boney
  Whatever Happened to the Sleepy Mexican?: One Way to be a Contemporary
     Mexican in a Changing World Order - by Yareli Arizmendi
  The New World Border: Prophecies for the End of the Century -
     by Guillermo Gomez-Pena
  The Other History of Intercultural Performance - by Coco Fusco
 
  //Book Reviews\\
  Women and Comedy: Rewriting the British Theatrical Tradition (by Susan
     Carlson) - reviewed by Lizbeth Goodman
  Gender in Performance: The Presentation of Difference in the Performing
     Arts (edited by Laurence Senelick) - reviewed by Kim Marra
  The National Stage: Theatre and Culture Legitimation in England, France
     and American (by Loren Kruger) - reviewed by Susan Manning
  Actors and Onlookers: Theater and Twentieth-Century Scientific Views of
     Nature (by Natalie Crohn Schmitt), The Actor's Instrument: Body, Theory,
     State (by Hollis Huston), The End of Acting a Radical View (by Richard
     Hornby), Acting (by John Harrop) - all reviewed by Phillip B. Zarrilli
 
  Each TDR issue is filled with photographs, artwork, and scripts that
  illustrate every article. The journal, founded in 1955, is 7 x 10, and
  a 184 pages per issue.
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Re: London/Stratford Productions; Birthday Greetings

Shakespeare Electronic Conference, Vol. 5, No. 0358.  Sunday, 24 April 1994.
 
(1)     From:   Tom Clayton <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Saturday, 23 Apr 1994 17:23:25 -0500 (CDT)
        Subj:   Re: SHK 5.0353  Qs: London/Stratford Productions
 
(2)     From:   W. L. Godshalk <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Saturday, 23 Apr 1994 22:39:22 -0500 (EST)
        Subj:   A birthday greeting
 
 
(1)----------------------------------------------------------------------------
From:           Tom Clayton <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Saturday, 23 Apr 1994 17:23:25 -0500 (CDT)
Subject: 5.0353  Qs: London/Stratford Productions
Comment:        Re: SHK 5.0353  Qs: London/Stratford Productions
 
18-26 August, Stratford: MND, TN, H5 in the RST; Cor., Southerne's *The
Wives' Excuse*, and *Peer Gynt* in the Swan; and H6 [Part 3 with additional
material from Part 2] at The Other Place. NT 11-18 August has, up to the 13th
(as far as the latest word goes), Per. and *The Seagull* in the Olivier; Pin-
ter's *Birthday Party*, Cocteau's *Les Parents Terribles*, Arthur Miller's new
*Broken Glass*, and *The Seagull* in the Lyttelton; and *Le Cid* (new trans. by
Ranjit Bolt, 1994) and &Rutherford & Son* (by Githa Sowerby, 1912) in the
Cottesloe. At the Barbican, same time: Tmp., MV, and Lr. in the Barbican; and
*The Country Wife*, *Ghosts*, and *Murder in the Cathedral* in the Pit.
 
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From:           W. L. Godshalk <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Saturday, 23 Apr 1994 22:39:22 -0500 (EST)
Subject:        A birthday greeting
 
I suppose Hardy's away giving a birthday toast at a big Shakespeare Birthday
Party, and I can't resist singing a little birthday song:
 
        Happy Birthday, Shakespeare baby,
        Happy birthday to you.
 
Yours,
Bill Godshalk

Q: Exotic Settings

Shakespeare Electronic Conference, Vol. 5, No. 0356.  Sunday, 24 April 1994.
 
From:           Karla Walters <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Saturday, 23 Apr 1994 08:28 MST
Subject:        Exotic settings query
 
I have been under the impression, from the time I first read Shakespeare as an
undergraduate, that Shakepseare used exotic settings like Italy, Denmark, and
even ancient Greece and Rome, not merely because the Renaissance was a period
in which people became fascinated with ancient times and far away places, but
because there was a certain safety from censorship in using exotic settings.
However, it seems to me that there is plenty of murder and intrigue in the
domestically set histories.
 
Does anyone know where the theory originated that there was some kind of
political "safety" in choosing exotic settings? How much factual or historical
evidence exists for it?
 
Karla Walters
Univ. of New Mexico         This email address is being protected from spambots. You need JavaScript enabled to view it.

Re: Quotation: "The dead wench"

Shakespeare Electronic Conference, Vol. 5, No. 0357.  Sunday, 24 April 1994.
 
(1)     From:   W. L. Godshalk  <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Saturday, 23 Apr 1994 22:23:32 -0500 (EST)
        Subj:   The dead wench
 
(2)     From:   A.G. Bennett <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Saturday, 23 Apr 1994 22:31 EDT
        Subj:   Re: SHK 5.0353  Qs: Quotation
 
(3)     From:   Ed Pechter <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Sunday, 24 Apr 1994 08:31:31 -0500 (EST)
        Subj:   Re: SHK 5.0353  Qs: Quotation
 
 
(1)----------------------------------------------------------------------------
From:           W. L. Godshalk  <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Saturday, 23 Apr 1994 22:23:32 -0500 (EST)
Subject:        The dead wench
 
For Terence Martin,
 
The passage is from Marlowe's THE JEW OF MALTA, 4.1.42 (according to the
Fehrenbach, et al. Concordance). But, of course, that was in another country --
a phrase that has provided titles and words for many another writer.
 
Nostalgically yours, Bill Godshalk
 
(2)----------------------------------------------------------------------------
From:           A.G. Bennett <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Saturday, 23 Apr 1994 22:31 EDT
Subject: 5.0353  Qs: Quotation
Comment:        Re: SHK 5.0353  Qs: Quotation
 
The quotation Terence Martin asked about is from Marlowe's _Jew of Malta_,
IV, 1. The full quotation is as follows:
 
Friar Barnadine: "Thou hast committed--"
Barabas: "Fornication-- but that was in another country;
          And besides, the wench is dead."
 
One question that's always nagged at me about this-- could this be Abigail's
mother he's talking about? After all, she, too, is dead before the play begins
and isn't mentioned (I don't think) otherwise. Any ideas?
 
Cheers,
Alex Bennett (This email address is being protected from spambots. You need JavaScript enabled to view it.)
 
(3)----------------------------------------------------------------------------
From:           Ed Pechter <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Sunday, 24 Apr 1994 08:31:31 -0500 (EST)
Subject: 5.0353  Qs: Quotation
Comment:        Re: SHK 5.0353  Qs: Quotation
 
Let me join what I'm sure will be hundreds in telling Terence Martin
that the quotation is from Marlowe's *Jew of Malta*.  It's Barabas,
describing extenuating circumstances surrounding a charge of fornication:
"But that was in another country and besides, the wench is dead."  (Given
Menendez & Bobbitt decisions, he's probably got a good defense here.)

CFP: ISCT

Shakespeare Electronic Conference, Vol. 5, No. 0354.  Saturday, 23 April 1994.
 
From:           International Society <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Friday, 22 Apr 1994 18:56:26 -0400 (EDT)
Subject:        ISCT CALL for PAPERS
 
CALL for PAPERS:
 
Third Meeting of the
 
INTERNATIONAL SOCIETY FOR THE CLASSICAL TRADITION
 
Boston University, Boston, MA (USA), March 8-12, 1995
 
Papers are invited on all aspects of the transmission, reception, and impact of
Greco-Roman Antiquity from the ancient world to the present time. Conference
languages will be: English, French, German, Italian, and Spanish. Presentations
of 20, 30, or  45 minutes will be arranged in thematic sessions and panels.
Abstracts (not more than 25 lines) of prospective papers, as well as
suggestions and inquiries, should be sent to: I.S.C.T., Wolfgang Haase / Meyer
Reinhold, Co-Presidents, either at: Institute for the Classical Tradition,
Boston University, 745 Commonwealth Avenue, Boston, MA  02215, USA, or at:
Universitaet Tuebingen, Arbeitsstelle ANRW, Wilhelmstr. 36, D-72074 Tuebingen,
GERMANY, or to our e-mail address at: This email address is being protected from spambots. You need JavaScript enabled to view it..
 
Posted by A. Ingle,
RA ICT
This email address is being protected from spambots. You need JavaScript enabled to view it.

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