November
Shakespeare Electronic Conference, Vol. 5, No. 0890. Saturday, 5 November 1994. (1) From: Cary Mazer <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 4 Nov 1994 08:53:41 -0500 (EST) Subj: Re: SHK 5.0886 Doubling in *Ham* (2) From: Jim Helsinger <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 4 Nov 1994 10:37:55 -0500 Subj: RE: Doubling in Hamlet (3) From: Skip Shand <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 04 Nov 1994 11:39:08 -0500 (EST) Subj: Re: SHK 5.0886 Qs: Doubling in *Ham.* (1)---------------------------------------------------------------------------- From: Cary Mazer <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 4 Nov 1994 08:53:41 -0500 (EST) Subject: 5.0886 Doubling in *Ham* Comment: Re: SHK 5.0886 Doubling in *Ham* For David Kathman, The role of the Ghost and the Player King were doubled in Ingmar Bergman's production of *Hamlet*. Cary M. Mazer University of Pennsylvania (2)---------------------------------------------------------------------------- From: Jim Helsinger <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 4 Nov 1994 10:37:55 -0500 Subject: RE: Doubling in Hamlet Yes, I did a production with the Alabama Shakes. Fest. where the Player king and Ghost were the same. Wonderful. You got two major father figures for hamlet being the same person. Worked great for hamlet and the audience. Just as interesting was Polonius as the First Gravedigger, so Hamlet is talking to the man he killed as the man is digging his own daughter's grave. (3)---------------------------------------------------------------------------- From: Skip Shand <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 04 Nov 1994 11:39:08 -0500 (EST) Subject: 5.0886 Qs: Doubling in *Ham.* Comment: Re: SHK 5.0886 Qs: Doubling in *Ham.* In a heavily doubled production at Toronto's Theatre Passe Muraille, the Ghost doubled into Player King, 1st (only!) Gravedigger, Pirate, and even (through some innovative sleight-of-hand involving Ghost's filmed image projected on fog in 1.1) into Barnardo. The impact of her lost husband's apparent return in the play-within would have been powerful for Gertrude in any event (not that it was read, or intended to read, that literally, but there was no avoiding a kind of remembered presence awakening memory and even conscience), but Passe Muraille pushed the moment much further, picking up on the idea of court members as occasional performers (as in masques), and having the Player King silently invite Gertrude to take the role of Player Queen--she was given a mask and a script, and so she herself uttered the protestations of eternal faithfulness before resuming her seat and observing, profoundly shaken, that the lady doth protest too much. Not a style for everyone's performance of *Hamlet*, certainly, but in the context of this particular production, and in this particular theatre (the birthplace of the collective movement in Canada), the moment was integrated and powerful, informed by improvisational techniques which were the hallmark of Passe Muraille. Just remembered: Ghost also returned as Fortinbras! This production ran at Passe Muraille from late 1983 into early '84. Skip Shand
Shakespeare Electronic Conference, Vol. 5, No. 0894. Saturday, 5 November 1994. (1) From: Jim Helsinger <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 4 Nov 1994 10:32:57 -0500 Subj: Re: SHK 5.0872 Q: *Shrew* Productions (2) From: Mary Bess Whidden <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 4 Nov 1994 21:10:35 -0700 (MST) Subj: Re: SHK 5.0887 Re: Anne Lock (1)---------------------------------------------------------------------------- From: Jim Helsinger <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 4 Nov 1994 10:32:57 -0500 Subject: 5.0872 Q: *Shrew* Productions Comment: Re: SHK 5.0872 Q: *Shrew* Productions I'm directing Shrew myself this spring in Florida and have acted in the play four other times. To me the most important thing is to never forget that it is a LOVE STORY! A love story about two people who are not complete within themselves and discover in the course of the play that the other one fulfills them. If Kate is a wonderful, liberated woman in the beginning, you have nowhere to go and the audience will gag on the last speech. It must be a speech of growth for her as a person, NOT submission. It takes alot of courage to give yourself to someone, male or female, and she does it, thereby winning Petruchio completely over to her. This is a personal thing but I also encourage you not to be afraid for Petruchio to be not entirely likable at first (he's in it for the money), this gives him somewhere to grow as well. If you do the induction, consider adding the middle and ending stuff from Taming of *A* Shrew. It helps give the Sly plot some closure. Good luck, Jim Helsinger (2)---------------------------------------------------------------------------- From: Mary Bess Whidden <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 4 Nov 1994 21:10:35 -0700 (MST) Subject: 5.0887 Re: Anne Lock Comment: Re: SHK 5.0887 Re: Anne Lock Sorry to clog up space, but my attempted message to Pat Buckridge failed. Concerning the use of the sonnet form for holy matter, give old Barnabe Barnes--not *Parthenophil*--a chance. Good luck, Mary Bess Whidden
Shakespeare Electronic Conference, Vol. 5, No. 0893. Saturday, 5 November 1994. (1) From: T. Scott Clapp <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 04 Nov 1994 08:23:41 -0700 (MST) Subj: Call for Papers (2) From: Jon Connolly <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 4 Nov 1994 09:31:45 -0800 (PST) Subj: Renaissance Studies Call for Papers (3) From: Helen Ostovich <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Thursday, 3 Nov 1994 18:01:09 +0001 (EST) Subj: Change in program at McMaster (1)---------------------------------------------------------------------------- From: T. Scott Clapp <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 04 Nov 1994 08:23:41 -0700 (MST) Subject: Call for Papers CALL FOR PAPERS Reinventing the Middle Ages and the Renaissance: Constructions of the Medieval and Early Modern Periods February 16-18, 1995 The Arizona Center for Medieval and Renaissance Studies at Arizona State University invites papers for an interdisciplinary conference on the general topic of how the Middle Ages and the Renaissance have been viewed through the centuries and how they defined themselves. (Norman Cantor's work on the concept of the Middle Ages in various historical periods may be used as a model.) Possible session topics include: periodization as it affects views of the past revivalisms Gothicism national differences twentieth-century views continuities/changes in attitudes to allegory Renaissance views of the Middle Ages medievalism/the Renaissance in the modern periods (Enlightenment, Romantic, Victorian, modern, post-modern, etc.) medieval views of the Middle Ages Renaissance views of the Renaissance continuities between the Middle Ages and Renaissance survival of antiquity in the Middle Ages and Renaissance Professor Norman Cantor will present the conference's keynote address. The conference will be held at the Radisson Mission Palms Hotel, two blocks from the ASU campus in Tempe, a suburb of Phoenix, Arizona. The high temperature in the "Valley of the Sun" during February averages 70 degrees. Proposals for sessions and detailed abstracts will be accepted beginning August 1, 1994. The final deadline will be December 1, 1994. Please send two copies of proposal for papers and sessions to the program committee chair: Robert E. Bjork, Director, ACMRS, Arizona State University, Box 872301, Tempe, AZ 85287-2301. Email:This email address is being protected from spambots. You need JavaScript enabled to view it. . Phone: (602) 965-5900. Fax: (602) 965-2012. T. Scott Clapp, Program Coordinator Arizona Center for Medieval and Renaissance Studies Arizona State University Box 872301 Tempe, AZ 85287-2301 Phone: (602) 965-5900; FAX: (602) 965-2012 (2)---------------------------------------------------------------------------- From: Jon Connolly <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 4 Nov 1994 09:31:45 -0800 (PST) Subject: Renaissance Studies Call for Papers This message is being cross-posted to other lists. Please ignore (and forgive) duplicate postings. Direct questions to Jon Connolly <This email address is being protected from spambots. You need JavaScript enabled to view it. >. Thank you. ****************************************************************************** CALL FOR PAPERS ****************************************************************************** The Margins of the Human the fifth annual interdisciplinary conference of the Rennaisance Studies Program, University of California, Santa Barbara 14-15 April 1995 Keynote Speaker: Claire Farago, Dept. of Fine Arts, University of Colorado, Boulder This conference is designed to bring together students and faculty from a variety of disciplines to consider how the category of the human was constructed and located in late medieval and early modern europe. Possible topics include, but are not limited to: racial and ethnic others, sexual practices, the "civilized" and the "barbarous," the "primitive" and the "decadent," the supraterrestrial (angels, demons, spirits), men, women, replicants (homunculi, automatons, imposters), children, animals (pets, predators, food), "bestiality," monsters, witches, fools, yokels, saints, villains/villeins, vagrants, rebellious bodies, linguistic and cultural regionalism, ignorance, fear and rationality, the unknown and the inconceivable, subjectivity, humanism, music, rhetoric, technology Interested scholars must submit abstracts by 15 January 1995. Please send them to: Robert Williams Dept. of the History of Art and Architecture University of California, Santa Barbara Santa Barbara, CA 93106 (805) 893-2417 FAX 805/893-7117 (3)---------------------------------------------------------------------------- From: Helen Ostovich <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Thursday, 3 Nov 1994 18:01:09 +0001 (EST) Subject: Change in program at McMaster EXPANDING THE CANON: NEW DIRECTIONS IN RENAISSANCE STUDIES November 18, 1994, at McMaster University, Hamilton, Ontario, Canada Pre-registrations requested. Note change in programme below, for Session 2. 8:OO am REGISTRATION -- Gilmour Hall Council Chamber PLENARY SESSION 1 9:00-10:30 Gilmour Hall Council Chamber Non-canonical Materials: Theory and Practice MODERATOR: Helen Ostovich (McMaster) KEYNOTE SPEAKER: Jean E Howard (Columbia): "Other Englands: The View from the Non- Shakespearean History Play" RESPONDENT: Paul Stevens (Queens) COFFEE 10:30-11:00 PLENARY SESSION 2 11:00-12:30 Gilmour Hall Council Chamber Reading Dialogue and Performance MODERATOR: Graham Roebuck (McMaster) Judith Deitch (U of Toronto): ""`Dialogue- wise': Rediscovering English Dialogues 1560-1603" Leslie S. Katz (Amherst): "`Sweete Sir Timothie, kind sir Timothie, tough sir Timothie': Voicing Robert Armin's Quips upon Questions" CANCEL [Stephanie Wright: "A Text without a Space: Performing The Tragedy of Miriam"] ADD David Linton (Marymount Manhattan): "Reading the Regulations" LUNCH 12:30-2:00 Commons Building, Small Dining Room CONCURRENT SESSIONS 3 AND 4 2:00-3:30 (3) Gilmour Hall Council Chamber Show and Tell: Spectacle as Meaning MODERATOR: Mary Silcox (McMaster) John Astington (U of Toronto): "The Ages of Man and the Lord Mayor's Show" Candy Loren (U of Toronto): "`To enter Gods house, as if it were a Play-house': The Jacobean `Man-Woman' Transgressively Reinscribed in the Role of Spectator" Philip Collington (U of Toronto): "Middleton, Whitney and Wither: Stagecraft `in the Light of the Emblem'" (4) University Hall 122 The Bible and Meditative Tradition MODERATOR: James Dale (McMaster) Noam Flinker (U of Haifa): "Biblical Poetry in the Context of Mid-Sixteenth-Century Political Tension: The Case of William Baldwin's The Canticles, or Balades of Salomon" Kel Morin (U of Ottawa): "`Thus crave I mercy': The Preface of Anne Locke" John Ottenhoff (Alma College, MI): "Meditating upon Anne Locke's Meditations" COFFEE 3:30-4:00 CONCURRENT SESSIONS 5 AND 6 4:00-5:30 (5) Gilmour Hall Council Chamber Women's Ordeals MODERATOR: Joan Coldwell (McMaster) Stanley D. McKenzie (Rochester Institute of Technology): "`I to my selfe am strange': The Competing Voices of Drayton's `Mistress Shore'" Karen Bamford (Mount Allison): "Sexual Violence in the Queen of Corinth" Anthony Martin (Waseda University, Tokyo): "The `Voice' of an African Woman: George Herbert's `Aethiopissa'" (6) University Hall 122 Reading and Writing Kings MODERATOR: Tom Cain (McMaster) Joan Parks (U of Wisconsin): "Elizabeth Cary's Domestic History" Louise Nichols (U du Quebec a Chicoutimi): "`My name was known before I came': The Heroic Identity of the Prince in The Famous Victories of Henry V" Sandra Bell (Queens): "The King Writing: King James VI and Lepanto" CASH BAR 5:30-7:00 Commons Building, Dining Room DINNER 7:00
Shakespeare Electronic Conference, Vol. 5, No. 0891. Saturday, 5 November 1994. (1) From: Richard C. Jones III <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 04 Nov 1994 08:24:04 -0600 (CST) Subj: Re: SHK 5.0886 Anthology Request (2) From: Fran Teague <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 04 Nov 94 09:34:05 EST Subj: Re: SHK 5.0886 Qs: Anthology Request (3) From: Grant Moss <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 4 Nov 1994 15:14:29 -0500 (EST) Subj: Renaissance Drama Anthologies (1)---------------------------------------------------------------------------- From: Richard C. Jones III <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 04 Nov 1994 08:24:04 -0600 (CST) Subject: 5.0886 Anthology Request Comment: Re: SHK 5.0886 Anthology Request Tom Bishop asks for help with an anthology for an English Renaissance Drama course. Anthologies never seem to have exactly what is needed, but I have used (for theatre history courses) Gassner & Green's *Elizabethan Drama*, still in print (as far as I know) from Applause. Two plays by Marlowe, one each from Kyd, Greene, Jonson, Dekker, and Heywood, plus *Arden of Feversham*. A good, small, affordable, paperback. Supplement it a little and it would be a good place to start. What it *isn't* is a whole course-load of reading unto itself (as was the case for *Typical Elizabethan Plays*). Rick JonesThis email address is being protected from spambots. You need JavaScript enabled to view it. (2)---------------------------------------------------------------------------- From: Fran Teague <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 04 Nov 94 09:34:05 EST Subject: 5.0886 Qs: Anthology Request Comment: Re: SHK 5.0886 Qs: Anthology Request Re: the anthology request from Thomas Bishop. Our bookstore tells me books are out of print when it ain't necessarily so, as Sportin' Life says in _Porgy and Bess_. Obviously if you're teaching students who intend to go on, you want them to invest in a very full anthology. In a class that's a mixture of graduate students from other departments, English students from various specialties, and Renaissance students, I've had good luck ordering a small anthology (like the M. L. Wine one) and supplementing with books on reserve, inexpensive paperbacks, and so forth. The Wine has nine plays and a masque in it, minimal apparatus, and a relatively low price. (3)---------------------------------------------------------------------------- From: Grant Moss <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 4 Nov 1994 15:14:29 -0500 (EST) Subject: Renaissance Drama Anthologies Re Thomas Bishop's inquiry regarding Renaissance Drama Anthologies, there is a two-volume set called "Drama of the English Renaissance," edited by Norman Rabkin and Russell Fraser that might be helpful. It's available in paperback (Vol. 1 is Elizabethan, Vol. is Jacobean), and has a fairly good selection of plays. There is also a smaller volume, also called "Drama of the English Renaissance," edited by M. L. Wine, but I think it might be more suited to undergraduate classes. Grant Moss University of North Carolina
Shakespeare Electronic Conference, Vol. 5, No. 0892. Saturday, 5 November 1994. (1) From: Nina Walker <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Thursday, 3 Nov 1994 13:18:32 -0500 (EST) Subj: Chimes at Midnight (2) From: Peter Novak <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 04 Nov 1994 12:06:12 -0700 (PDT) Subj: Modernized Texts (1)---------------------------------------------------------------------------- From: Nina Walker <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Thursday, 3 Nov 1994 13:18:32 -0500 (EST) Subject: Chimes at Midnight I'm actively and somewhat desperately seeking a video copy of Welles's *Chimes at Midnight*. I'm not having much success. It seems the distribution company is a mystery to most of the outlets I've contacted. If anyone can help, I'd be very grateful. Contact me at:This email address is being protected from spambots. You need JavaScript enabled to view it. Thanks in advance. (2)---------------------------------------------------------------------------- From: Peter Novak <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 04 Nov 1994 12:06:12 -0700 (PDT) Subject: Modernized Texts This may seem problematic to some of you, but is anyone aware of any editions other than The Contemporary Shakespeare by A.L. Rowse which has language in contemporary English? I feel I need to explain my reasons for asking... We are in the process of interpreting the plays in our season for Deaf audiences, and we do Shakespeare every year. Because the interpreter's time is valuable (and expensive at $50.00 per hour), and because it would save us an enormous amount of time, we are looking for Shakespeare's plays in a more simplified and easy to understand manner. The interpreter's job is a complicated one. They need to listen and make split-second decisions regarding the delivery of a line. It makes it even more complicated to try to follow in the script and sign in a second language. It would make the interpreter's job much simpler if they did not have to decipher meaning from the actors and then translate. This brings up huge issues of meaning, performance, text, etc... but we don't have the time to deal with that now. Any suggestions? Peter Novak SCUACC.SCU.EDU Santa Clara University