July
The Shakespeare Conference: SHK 9.0678 Wednesday, 22 July 1998. [1] From: Lex Ames <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Monday, 20 Jul 1998 09:57:53 -0500 Subj: mailing lists, etc. . . . [2] From: Lex Ames <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Monday, 20 Jul 1998 09:35:31 -0500 Subj: Midsummer Video Recommendations? [3] From: Michael Cohen <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Monday, 20 Jul 98 11:28:28 -0700 Subj: Re: SHK 9.0676 Re: Macbeth on Video [1]----------------------------------------------------------------- From: Lex Ames <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Monday, 20 Jul 1998 09:57:53 -0500 Subject: mailing lists, etc. . . . For a variety of reasons, I've seen more films of Shakespeare's plays than actual stage performances (which I've seen very few of despite a brief residence in Washington, DC). Basically, I owe my enthusiasm for (though not my introduction to) Shakespeare to an in-class comparison of Olivier's & Branaugh's films of Henry V during my last year as an undergraduate. So, would anyone be kind enough to recommend to me a means of getting myself on the mailing lists of Shakespeare festivals, theatres, & companies any & everywhere? Is there a way to do it w/o calling/writing each org. individually? If not, which, in your opinion would you contact first? I would also appreciate recommendations of the better Shakespeare-related sites on the www. Please respond off-list if you feel it more appropriate. I realize that as a subscriber to this list that I should probably already be well aware of the things I'm asking about, but what can I say . . . I'm a slacker. Thanks in advance, Lex Ames <This email address is being protected from spambots. You need JavaScript enabled to view it. > P.S. Thanks to all those who responded (privately) earlier this summer to my plea for advice as to which graduate program I ought to transfer to in the fall. FYI, I'll be attending the University of Alabama . . . [2]------------------------------------------------------------- From: Lex Ames <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Monday, 20 Jul 1998 09:35:31 -0500 Subject: Midsummer Video Recommendations? Can anyone recommend a VHS-recorded performance or film (preferably a full-performance) of A Mid-Summer Night's Dream? I'm feeling seasonal . . . [3]------------------------------------------------------------- From: Michael Cohen <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Monday, 20 Jul 98 11:28:28 -0700 Subject: 9.0676 Re: Macbeth on Video Comment: Re: SHK 9.0676 Re: Macbeth on Video Susan St. John <This email address is being protected from spambots. You need JavaScript enabled to view it. > wrote in SHK 9.0676 >Is the Trevor Nunn version with Ian MacKellan the one with the entire >cast sitting in a circle of chairs, with the witches sort of like bag >ladies, one who only drools and serves as a sort of conduit for the >*masters* input? Because THAT is my absolute favorite version. Well, that is more or less how its starts. In fact, it starts with an overhead shot (almost Busby Berkeley-ish) looking down on the circle of chairs, then pans around the circle of players while organ music plays in the background. And yes, the youngest witch is a drooler... Michael E. Cohen <mailto:This email address is being protected from spambots. You need JavaScript enabled to view it. ><http://members.aol.com/lymond/>
The Shakespeare Conference: SHK 9.0677 Wednesday, 22 July 1998. [1] From: Virginia Byrne <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Monday, 20 Jul 1998 11:19:44 EDT Subj: Re: SHK 9.0672 Re: All-Male H5 [2] From: Terence Hawkes <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Monday, 20 Jul 1998 12:52:54 -0400 Subj: SHK 9.0672 Re: Globe Audience [3] From: Sean Lawrence <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Monday, 20 Jul 1998 10:15:25 -0700 Subj: Re: SHK 9.0672 Re: All-Male H5 [4] From: Stephanie Hughes <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Monday, 20 Jul 1998 11:40:49 -0700 Subj: Re: SHK 9.0672 Re: All-Male H5 [5] From: Stephanie Hughes <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Monday, 20 Jul 1998 11:48:30 -0700 Subj: Re: SHK 9.0672 Re: All-Male H5 [6] From: Louis Swilley <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 21 Jul 1998 07:23:08 -0500 Subj: Re: SHK 9.0672 Re: All-Male H5 [1]----------------------------------------------------------------- From: Virginia Byrne <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Monday, 20 Jul 1998 11:19:44 EDT Subject: 9.0672 Re: All-Male H5 Comment: Re: SHK 9.0672 Re: All-Male H5 I expect the decision to cast females in the female roles might have something to do with the plethora of female actors who would be somewhat disturbed with an all male company. Economics again rearing its head but also a concession to 1998 actors. [2]------------------------------------------------------------- From: Terence Hawkes <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Monday, 20 Jul 1998 12:52:54 -0400 Subject: Re: Globe Audience Comment: SHK 9.0672 Re: Globe Audience At last! ' . . . young people who are at the Globe with much the same attitude they might have while being booked at the local police station'. Children who don't Love Shakespeare, I'll be bound. What a relief! T. Hawkes [3]------------------------------------------------------------- From: Sean Lawrence <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Monday, 20 Jul 1998 10:15:25 -0700 Subject: 9.0672 Re: All-Male H5 Comment: Re: SHK 9.0672 Re: All-Male H5 I'd just like to add to William Williams's note on school parties at the new globe that this is an ongoing difficulty with school parties generally, and in more than one country. For one thing, field trips seem to be assigned when the school year is running down, and the students are getting antsy. For another, there seems occasionally to be a perception (among students, even sometimes among teachers) that a field trip isn't part of 'school'. No one is sitting in front of a blackboard or studying for a test, so it's basically a mildly structured recess. I worked one summer at a retired gold mine in Northern Ontario which functioned as a museum. We dreaded the week when all of the students from the local school system were dumped on us. The irony is that it was good for almost everyone-the teachers and students got half a day more or less off, the school board could say it was promoting local history, and the tour got publicity. It was good, in fact, for everyone except someone who wanted to actually teach or learn local history. The solution to disruptive school groups is to screen classes that are coming through, making sure that no class gets bulk seating unless they've actually studied the relevant play in advance, then providing teaching material to prepare for and debrief from the trip, etc. In short, make sure that any school groups passing through are actually there to study. Cheers, Sean. [4]------------------------------------------------------------- From: Stephanie Hughes <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Monday, 20 Jul 1998 11:40:49 -0700 Subject: 9.0672 Re: All-Male H5 Comment: Re: SHK 9.0672 Re: All-Male H5 The all male performance I'd like to see would be Twelfth Night. The undercurrent of gender bending in that play, as it was originally conceived, is thrown totally off-kilter by having Viola/Cesario played by a woman. If played by a boy, as it would have been, although the audience knows on one level that they are supposed to be watching a girl playing a boy, on another level they are perfectly aware that they are watching a boy playing a girl playing a boy for the better part of the play. On this level, Cesario's love for Orsino would be perceived as gay love, because although he is supposed to be a girl dressed as a boy, he is, in fact, a boy dressed as a boy. The same thing would be true of As You Like It. The love routines between Orlando would be between two men both dressed as men. Was Shakespeare tricking the audience into watching gay love scenes? Stephanie H. [5]------------------------------------------------------------- From: Stephanie Hughes <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Monday, 20 Jul 1998 11:48:30 -0700 Subject: 9.0672 Re: All-Male H5 Comment: Re: SHK 9.0672 Re: All-Male H5 I hadn't read Michael Friedman's post when I posted regarding an all male cast for As You Like It. He asks why the Globe hasn't given the part of Rosalind to a male actor. I think the answer may lie with my last post. While the French Princess remains a "female" throughout his/her love scene with Henry, with AYLI, and Rosalind dressed as, and imitating as best she can, a male, the love scenes between Orlando and Rosalind may look too much like gay love scenes. Here we may also be bringing in the question of those hordes of school children, and what the Globe might regard as "appropriate" for them to see. Stephanie H. [6]------------------------------------------------------------- From: Louis Swilley <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 21 Jul 1998 07:23:08 -0500 Subject: 9.0672 Re: All-Male H5 Comment: Re: SHK 9.0672 Re: All-Male H5 Years ago, Ronald Pickup, then of course in his salad days, played Rosalind in an all-male production at the National Theatre - or was that at Old Vic - anyway, the very wonderful effect (which I hope was indeed Shakespeare's intention, considering his all-male troupe) was the delightfully puzzling ambiguity of the lines and reactions as the male actor pretending to be Rosalind who in turn pretends to be a man addresses another male actor pretending to be a woman. The sexual contexts kept shifting dimensions - to everyone's entertainment and instruction.
The Shakespeare Conference: SHK 9.0676 Monday, 20 July 1998. [1] From: David Evett <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 17 Jul 1998 13:17:54 -0400 Subj: Re: SHK 9.0669 Stoic Shakespeare [2] From: Susan St. John <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 17 Jul 98 23:53:08 -0700 Subj: Macbeth on Video [1]----------------------------------------------------------------- From: David Evett <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 17 Jul 1998 13:17:54 -0400 Subject: 9.0669 Stoic Shakespeare Comment: Re: SHK 9.0669 Stoic Shakespeare A propos Stoicism and humanism: where is John Velz when we need him? Seriously, I did not mean to diminish the potential value of Ben Schneider's "thick" approach to Stoic elements in the Shakespearean texts; I've found much to chew on in the samplings of the work he has posted to SHAKSPER. But I can't accept his contentions that the modernist generation "got nowhere" in their own investigation of those materials, that none of them had "ever read the primary sources," or that one had to be either a Stoic, an outcast, or a Puritan because the three categories were mutually exclusive. More generally I want to reiterate my conviction that both the ideas and the behaviors of most people are far too unsystematic to allow the kind of sharp-edged categories Schneider wants to impose. Elizabethan court culture, for instance, was no doubt predicated on deep-rooted concepts of social reciprocity-Schneider's "returning favors is a must." But the actual processes of exchange were inflected by matters of hierarchy and self-interest in highly complex and variable ways-if they were not, Spenser would never have languished in Ireland. David Evett [2]----------------------------------------------------------------- From: Susan St. John <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 17 Jul 98 23:53:08 -0700 Subject: Macbeth on Video Is the Trevor Nunn version with Ian MacKellan the one with the entire cast sitting in a circle of chairs, with the witches sort of like bag ladies, one who only drools and serves as a sort of conduit for the *masters* input? Because THAT is my absolute favorite version. I had a college class with Dr. Mary Maher at Arizona State University (she was a visiting lecturer from U of Az) where the emphasis was on directors' choices. We spent many weeks watching and studying several versions of Macbeth; but I can't find my notes to be sure which one it was I was so impressed with! Also, I used a similar technique when teaching Macbeth to my high school students: we watched several versions of the witch scenes and discussed how the directors came up with their various ideas. We also read the whole play. Then we watched a modern version which I believe is titled "Men of Substance" (or some title with Blood in it, sorry but when school's out my brain goes on vacation!). This is a Mafioso version in which we really enjoyed discovering how each character and situation would translate into the imposed situation. Bankie Cuomo, for instance, and the witches as gypsy-like fortune tellers. It is rated R for very bloody violence, which is probably why my high schoolers enjoyed it so much. Susan St. John
The Shakespeare Conference: SHK 9.0675 Monday, 20 July 1998. From: Donald R. Dickson <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Monday, 20 Jul 1998 09:36:35 -0400 Subject: CFP CALL FOR PAPERS The SOUTH-CENTRAL RENAISSANCE CONFERENCE will meet jointly with the SOUTH EASTERN RENAISSANCE CONFERENCE at the Savannah School of Art and Design. Savannah, Georgia 8-10 April 1999 The South-Central Renaissance Conference invites completed papers (8-10 pages) on any aspect of Renaissance studies-art history, history, literature, music, philosophy, science, or theology-for its annual meeting. Papers are encouraged for the following special sessions: Piety in Northern Europe: Religious Orders and Lay Worship Women in the Marketplace of Elizabethan Society Painting in Northern Italy Renaissance Politics and Homoeroticism Muslim captivity Narratives between 1575-1700 Papers must be submitted in triplicate with a 100-word ABSTRACT to the program chair, Donald Dickson (This email address is being protected from spambots. You need JavaScript enabled to view it. ), English Dept., Texas A&M University, College Station, TX 77843. Please enclose a SASE. The deadline for submission is 1 November 1998. Program participants must join the SCRC; participants will also be encouraged to submit publication-length versions of their papers to *Explorations in Renaissance Culture*, the journal sponsored by SCRC. For SCRC membership information, contact Raymond Frontain <This email address is being protected from spambots. You need JavaScript enabled to view it. >. The local arrangements chair at the Savannah School of Art and Design is Jim Janson (This email address is being protected from spambots. You need JavaScript enabled to view it. ). The keynote address will be delivered by Walter Gibson, Professor of Art History Emeritus, Case Western Reserve University. Dr. Gibson is an internationally recognized scholar of Northern Renaissance art and renowned authority on Flemish artists Hieronymus Bosch and Pieter Bruegel the Elder. His topic will be "Pieter Bruegel and the Art of Laughter." Please join us for what promises to be an intellectually rewarding experience in a charming Southern locale.
The Shakespeare Conference: SHK 9.0674 Monday, 20 July 1998. From: R.G. Siemens, Editor, EMLS <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 17 Jul 1998 12:41:41 Subject: Early Modern Literary Studies: Opening for an Associate Editor (iEMLS) [x-posted; please excuse duplication] Early Modern Literary Studies: Opening for an Associate Editor (iEMLS) http://purl.oclc.org/emls/emlshome.html EMLS is currently seeking an Associate Editor, who will share responsibilities for the Interactive section of the journal. The position will begin in late September 1998. Interactive EMLS (iEMLS) intends to explore the potential of the internet as a scholarly medium. It has done so by - offering a venue for circulating useful information widely and quickly, as in our sections for Calls for Papers and Conference Materials; - supporting scholarly resources, such as the *Milton Quarterly* Relational Database and the *SHAKSPER* Discussion List Archive; - providing the means for scholars to interact closely, regardless of geographical distance, with such projects as the Virtual Seminar. We are presently building upon this base, especially so in areas related to the model of interactivity provided by the Virtual Seminar. The Associate Editor maintains existing iEMLS features while planning, consulting with others, and implementing new features -- fully sharing associated tasks and duties with another Associate Editor (the position is split between two editors). He or she devotes approximately four hours per week to these duties and will be required to have a good knowledge of early modern English literature and a demonstrated competence in HTML, as well as a good knowledge of internet publishing tools such as FrontPage (or the willingness to learn them). Should you be interested in being considered for this position, please send a cover letter and vita to: R.G. Siemens, Editor Early Modern Literary Studies Department of English 3-5 Humanities Centre University of Alberta Edmonton, Alberta, Canada. T6G 2E5. Electronic Mail:This email address is being protected from spambots. You need JavaScript enabled to view it. Fax: (403) 492-8142 Review of candidates will begin in mid-August. ---------------- About EMLS EMLS (ISSN 1201-2459) is published three times a year for the on-line academic community by agreement with, and with the support of, the University of Alberta's Department of English. EMLS is indexed by the MLA International Bibliography, the Modern Humanities Research Association's Annual Bibliography of English Language and Literature (ABELL), the Canadian Index (CBCA), Web-Cite, the Lycos and InfoSeek indexing services and others, as well as being linked to resource pages of scholarly journals, libraries, educational institutions, and others worldwide. EMLS does not appear in print form, but can be obtained free of charge in hypertextual format on the World Wide Web at * http://purl.oclc.org/emls/emlshome.html The EMLS site is mirrored at Oxford University. EMLS is a participant in the National Library of Canada's Electronic Publications Pilot Project, where it is also archived; it is also archived by the Committee on Institutional Cooperation (CIC) Electronic Journals Collection. Contact us! * Journal Information, Comments, Mailing List: For more information, to join our mailing list, or to offer your comments on EMLS, please contact our Assistant Editor, Sean Lawrence, atThis email address is being protected from spambots. You need JavaScript enabled to view it. . * Site Information, Comments, &c.: All correspondence pertaining to our site may be sent our Associate Editor, Paul Dyck, atThis email address is being protected from spambots. You need JavaScript enabled to view it. . * Editor: Correspondence to the Editor may be sent toThis email address is being protected from spambots. You need JavaScript enabled to view it. . * Hard-copy correspondence may be addressed to: o Early Modern Literary Studies, Department of English, 3-5 Humanities Centre, University of Alberta, Edmonton, Alberta, Canada. T6G 2E5. o Fax: (403) 492-8142. Editorial Group The EMLS Editorial Group is representative of the on-line academic community as a whole and includes scholars with wide-ranging interests and experience, from junior to well-established senior academics. Senior Editorial and Advisory Board: * Gordon Campbell, University of Leicester * Hardy M. Cook III, Bowie State University * Patricia Demers, University of Alberta * Roy Flannagan, Ohio University * W. L. Godshalk, University of Cincinnati * Ian Lancashire, New College, University of Toronto * Graham Parry, University of York, England * Paul G. Stanwood, University of British Columbia Advisory Editors: * John Archer, University of New Hampshire * Patricia Badir, University of British Columbia * Richard W. Bailey, University of Michigan, Ann Arbor * Glenn Black, Oriel College, Oxford * Ronald Bond, University of Calgary * Luc Borot, Centre d'Etudes et de R