July
The Shakespeare Conference: SHK 11.1435 Friday, 28 July 2000. From: Watson S <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Wednesday, 26 Jul 2000 14:00:39 +0100 Subject: Advert for LTSN English Centre http://www1.rhbnc.ac.uk/sits-vac/sw240.html [Royal Holloway logo] [Royal Holloway, University of London] --------------------------------------------------------------------------- LTSN Subject Centre 17: English Project Officers - 1) C&IT and Publications 2) Academic Liaison and Research The National Subject Centre for English seeks to appoint two outstanding individuals to these Project Officer posts which are available from 1st August 2000 (or as soon as possible thereafter) for a fixed period of three years in the first instance. The Centre will be based in the Department of English at Royal Holloway and is a joint venture of Royal Holloway, the Council for College and University English and King's College, University of London. Project Officer 1 - C&IT and Publications. The Project Officer will work with the Centre Director to provide advice and support to the HE community on the role of C&IT in the learning and teaching of English. This post will be based in the Centre for Computing in the Humanities at King's College, London, and will liaise closely with the Centre Director at Royal Holloway. Ref: KK/1775. Project Officer 2 - Academic Liaison and Research. The Project Officer will work with the Centre Director to provide advice and support for the HE Community on developments in pedagogic practice in English. The post will be based in RHUL, but the appointee will be expected to visit universities and colleges across the UK to promote initiatives in English and disseminate best practice. Ref: KK/1776 Applicants should hold a good Honours degree in English and a higher degree, and have at least 3 years' relevant experience in the teaching of English at HE level. Salary will be on the Lecturer A scale
The Shakespeare Conference: SHK 11.1434 Thursday, 27 July 2000. From: Moira D. Russell <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Wednesday, 26 Jul 2000 19:35:46 -0800 Subject: Outdoor Shakespeare in Seattle Kezia Vanmeter Sproat's "New Outdoor Shakespeare in Ohio" post prompts me to share some good news: when my husband and I moved to Seattle from Santa Fe about a year and a half ago, one of the few things we missed were the outdoor productions of Shakespeare in Santa Fe at its permanent outdoor home, St. John's College (my alma mater). However, we were recently delighted by the performance put on by Greenstage of "Henry IV 1" at Discovery Park. This is an amateur non-profit organization which moves around _from park to park_ in Seattle, making sure there are free performances of quality theater (they do go indoors in the autumn and winter). While it was, at times, obviously an amateur production (the rhythm of verse-speaking was slightly off, resulting sometimes in the unfortunate "shakesbabble" which happens when actors don't quite understand what they're reciting, and the tempo was on the whole too fast), the overall quality, passion, and even polish was HIGH. Barzin Akhavan (Hotspur), Peter Balogh (King Henry), Kimberly Atkinson (Lady Percy/Poins), Donnal MacEllis (Falstaff), and Jason Marr (Prince Hal) were all extraordinarily good, particularly Akhavan and Atkinson in their scenes with each other. Seeing Falstaff at one point exasperatedly outroar just one last jetliner to successfully deliver an important line seemed both entirely in character and a modern update of the play. The direction of this dark, angry, unsettling work was superb, in particular the blocking of the actors, which sounds like faint praise but you would have to see some of the striking, expressive yet wholly natural stances and combination of positions Linda Lombardi came up with to understand. We're going again to see "Henry IV" performed in another park this weekend, with a performance the day after of "Much Ado About Nothing," with Kimberly Atkinson as Beatrice -- I expect she will be splendid, as she made a wonderful impression as a charming but passionate and hot-tempered Kate. For those who are in Seattle, the performance is at Woodland Park, "Ado" on the 28that 8 PM, "Henry" at the same park on July 29 and 30 at 3 PM. The company has a very good website at www.greenstage.org. Moira Russell Seattle, WA
The Shakespeare Conference: SHK 11.1433 Thursday, 27 July 2000. From: Sam Small <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Thursday, 27 Jul 2000 01:34:57 +0100 Subject: 11.1420 Re: To be an actor or not to be an actress Comment: Re: SHK 11.1420 Re: To be an actor or not to be an actress Kevin De Ornellas of Queen's University Belfast wrote: >Sorry for the late response to this: it is just that I forgot to >mention that I find it extremely helpful to consult Casey Miller and >Kate Swift, 'The Handbook of Nonsexist Writing' (2nd edition; New York: >Harper and Row, 1987) when anxious about these grey areas. Kevin? Why not consult your own heart and your own common sense? I think that would give you a better answer than any "Hand Book On How To Think". SAM
The Shakespeare Conference: SHK 11.1432 Thursday, 27 July 2000. From: Stuart Manger <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Wednesday, 26 Jul 2000 21:45:09 +0100 Subject: Performing 'The Tempest' A bundle of questions about The Tempest: I am just about to teach the play for the Nth time, and possibly produce it for the third time. But every time I start to, I am assailed by terrible doubts about what on earth is going on in this play. Advice VERY welcome on any topic. [a] What are current views on how to interpret Caliban and Ariel on stage? Colonised Caliban? Ethnic Caliban? Superhuman ? Sub-human Caliban? Young Ariel? Old Ariel? Young Caliban? Old Caliban? [b] Is there any evidence that Ariel was ever played by a boy in Jacobean times - viz a lot of fizzing, energetic songs, and presumably expected to leap about gymnastically - I know that doesn't necessarily mean anything, but........? What striking performances of Ariel can correspondents recall that illuminated aspects of the character?? [c] And the Act 4 Spirits? What kinds of voices would be expected for the music? Presumably boys / male altos sung / acted the parts of the goddesses, so deeper male voices for the 'burdens'? Who would be required to sing 'ding dong bell' - do we think that they may have been sung under the stage? Music seems to have been required (certainly commented on as being ) all over the place on this island - so would 'the cellarage' have ever been used for music? But what about at Whitehall? [d] does a cast list for the 1612-13 performance before James l exist in either Revels Accounts / company lists ? [e] when a major show was brought in form outside for Whitehall, did the visiting company bring all their own technicians, or were there resident expert teams who advised on production techniques? 'Hamlet' suggests that companies travelled with all their own chippies and kit, BUT for a really grand show before royalty etc..... ? [f] what did Jacobeans mean by a 'banquet'? Presumably a small selection of goodies at the side of a hall on a small 'banc' / bench or similar? [g] And that nightmare SD for any stage manager today - Ariel makes a banquet disappear with 'a quaint device'. What kind of 'device could they mean? Might the table / 'banquet' have been 'flown'? Or is this just an indication to the stage team to dream up something pretty nifty? Do the complexity of the SD's - more so than in most Shakespeare plays - perhaps suggest that the play was not intended for performance in a conventional public playhouse, but intended from inception for the private theatre? , OR maybe that Shakespeare was feeling his way towards some new stage as well as linguistic mode - stuff still on the drawing board? [h] how might a 'harpy' be dressed so as to be both terrifying and mobile enough for Ariel to deliver lines? [i] Vanessa Redgrave is currently playing Prospero at The Globe. Is there mileage in that 'cross-dressing' concept? Might it obscure more than it reveals of the play's inner guts? The play seems so insistent on the fatherhood / masculine power strategies of Propsero, and much of his angst too seems tied to such roles, that one wonders about the wisdom of such casting? Thank you for any contact. Stuart Manger
The Shakespeare Conference: SHK 11.1431 Thursday, 27 July 2000. [1] From: Frank Whigham <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Wednesday, 26 Jul 2000 13:48:20 -0500 Subj: TOC: Penitent Brothellers [2] From: Dennis Taylor <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Wednesday, 26 Jul 2000 14:49:48 -0400 Subj: RE: SHK 11.1424 TOCs and the SHAKSPER listserv [1]----------------------------------------------------------------- From: Frank Whigham <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Wednesday, 26 Jul 2000 13:48:20 -0500 Subject: TOC: Penitent Brothellers Colleagues, I thought listmembers might be glad to receive TOCs for forthcoming books as well as journal issues. (I would.) Frank Whigham Title: Penitent Brothellers: Grace, Sexuality, and Genre in Thomas Middleton's City Comedies Author: Herbert Jack Heller Publisher: University of Delaware Press 1. Thomas Middleton, Calvinist Dramatist 2. Grace, Repentance, and Genre: A Mad World, My Masters, The Widow, and A Chaste Maid in Cheapside * "Is it a tragedy plot, or a comedy plot, good mother?": Repentance and Genre in Middleton Criticism * From Brothel to Once-Ill: Penitent's Paradigmatic Conversion in A Mad World, My Masters * "That he might read his actions i'th'event?": The Patterns of Repentance * Sir Walter Whorehound's Anti-Tragic Repentance 3. Marrying the Whore: The Hosea Paradigm in A Trick to Catch the Old One and Other Plays 4. Sodomy, Salvation, and the Stage: Satires, Michaelmas Term, and The Roaring Girl * Unspoken Things in the Historical, Literary, and Critical Contexts * "Time was I loved Pyander well": The Wide Indication of Sodomy in Middleton's Satires * Undoing Sodomy: Richard Easy's Redemption in Michaelmas Term * Redeeming the Sodomite Stage in The Roaring Girl Epilogue (This brief section makes comparisons between Middleton's conversion scenes and those in Shakespeare.) [2]------------------------------------------------------------- From: Dennis Taylor <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Wednesday, 26 Jul 2000 14:49:48 -0400 Subject: 11.1424 TOCs and the SHAKSPER listserv Comment: RE: SHK 11.1424 TOCs and the SHAKSPER listserv I use Uncover, which is great. But is there a way to have just published book titles, on selected subjects, also delivered by internet? Thanks! Dennis Taylor