2001

Re: LLW

The Shakespeare Conference: SHK 12.2476  Sunday, 28 October 2001

From:           Robin Hamilton <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Saturday, 27 Oct 2001 07:08:22 +0100
Subject: 12.2443 Re: LLW
Comment:        Re: SHK 12.2443 Re: LLW

Re sequels:

Has anyone mentioned the Ho's boxing the compass? -- Eastward,
Northward, Westward, and Southward.

Robin

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Call for Papers: Shakespeare in Popular Culture

The Shakespeare Conference: SHK 12.2475  Sunday, 28 October 2001

From:           Tracey Gau <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Friday, 26 Oct 2001 20:44:45
Subject:        Call for Papers: Shakespeare in Popular Culture

Dear SHAKSPERean,

I would like to send the attached call for papers to all the people
currently subscribed to the list:

CFP: Shakespeare in Popular Culture
SW/TX PCA/ACA
2/13/02-2/17/02

Shakespeare in Popular Culture at the Southwest/Texas Popular Culture
Association/American Culture Association
Feb. 13-17 2002
Albuquerque Hilton
Albuquerque, New Mexico

Extended Deadline for abstract submissions: December 1, 2001

The Shakespeare in Popular Culture area of the Southwest/Texas Popular
Culture Association invites proposals for papers and panels on
Shakespeare in popular culture, including, but not limited to the
following:

          teaching Shakespeare in the new century

          researching Shakespeare in the new century

          music or radio

          the Internet or Shakespearean websites

          television

          children's literature or theme parks

          advertising

          Shakespeare in the corporate world

Please send 250-word abstracts to:

Tracey Gau
Department of English
University of North Texas
P. O. Box 311307
Denton, TX 76203-1307

Phone: 940-369-8952
Fax: 940-565-2050
e-mail: This email address is being protected from spambots. You need JavaScript enabled to view it.

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Conference call for Papers

The Shakespeare Conference: SHK 12.2473  Sunday, 28 October 2001

From:           David Lindley <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Friday, 26 Oct 2001 19:38:07 GMT0BST
Subject:        Conference call for Papers

May I draw the attention of list members to the following call for
papers?  Details of the conference, including booking details, will be
circulated in the early part of next year.

SCHOOL OF ENGLISH LEEDS UNIVERSITY
UNIVERSITY OF LEEDS CENTRE FOR ENGLISH MUSIC

Music in Shakespeare: Shakespeare in Music

                   An Interdisciplinary Conference
             University of Leeds, September 13-15, 2002

                           CALL FOR PAPERS

This conference will bring together Shakespeare scholars, theatre and
performance historians, musicians and musicologists to explore a wide
range of issues concerning the role of music in Shakespeare's plays on
the English stage from the sixteenth century to the present, as well as
Shakespeare's influence on English music and musical history.

Proposals are invited for 20-minute papers in three main strands:

1. The practice and practicalities of music in the Shakespearean
theatre(s); the function of music in the plays of Shakespeare and his
contemporaries.  The principal focus of papers will be on Shakespeare,
though comparative discussion of other dramatists is welcomed. Offers of
papers on musical imagery will need to indicate clearly how they go
beyond the familiar explorations of musical symbolism in the period.

2.  Music in the performance history of Shakespeare on the English stage
from the seventeenth century to the present, including theatrical
adaptations and transformations. Theoretical consideration of the place
of music in performance and in theatre history would be welcome, since
it is an area conspicuously neglected in most accounts of Shakespeare on
stage.

3.  Shakespeare in music. We welcome papers on any aspect of the ways
Shakespeare has influenced and inspired English music and musical
culture, from settings of Shakespearean lyrics as songs and glees to
overtures and tone-poems inspired by the themes of the plays.

Please send abstracts (200 words maximum) by 2 April 2002 to:

LUCEM, School of Music, University of Leeds, Leeds LS2 9JT
telephone: 0113 233 2545 (Dr Holman) or 2532 (Dr Cowgill)
fax: 0113 233 2586      e-mail: This email address is being protected from spambots. You need JavaScript enabled to view it.

Organising committee:

Professor David Lindley             This email address is being protected from spambots. You need JavaScript enabled to view it.
Dr Peter Holman                     This email address is being protected from spambots. You need JavaScript enabled to view it.
Dr Rachel Cowgill                   This email address is being protected from spambots. You need JavaScript enabled to view it.
Dr Bridget Escolme                  This email address is being protected from spambots. You need JavaScript enabled to view it.

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Shakespeare in USA and in UK

The Shakespeare Conference: SHK 12.2474  Sunday, 28 October 2001

From:           Stuart Manger <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Friday, 26 Oct 2001 22:21:00 +0100
Subject:        Shakespeare in USA and in UK

A few questions:

[a] Do you think that in the normal run of events, there is a tendency
in USA to perform / teach / target a rather different group of
Shakespeare plays than those more commonly performed in UK? Are the
social / box office demands for either pro theatre or amateur or
university or all three different in USA? I ask having no experience of
the US circuit at all, apart from what I read on this illustrious
website.

[b] What effects do you think Les Evenements in NYC et al are likely to
have on the kinds of plays US companies might feel able / ill-advised to
perform? In the latter category, possibly R2 comes to mind with the edgy
abdication scene? One can imagine an H5 being interesting too if
directed in a particular way?

[c] How much Shakespeare PERFORMANCE of complete plays do High Schools
get involved in? It is a fairly standard tradition in UK schools, and I
wondered if it was so at High School level in USA. If so, do they mostly
go for the 'romantic' plays? Or comedies? Or what? I took a 'Romeo and
Juliet' from a UK school to a series of American High Schools in
Massachusetts and the reactions varied from the fairly loudly bored to
pin-dropping silence and ecstasy. Is that about right?

Stuart Manger

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Re: Actors' Additions

The Shakespeare Conference: SHK 12.2472  Sunday, 28 October 2001

From:           W. L. Godshalk <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Friday, 26 Oct 2001 15:32:15 -0400
Subject: 12.2438 Re: Actors' Additions
Comment:        Re: SHK 12.2438 Re: Actors' Additions

Marcys Dahl notes,

>There is . . . a certain mystery in WHO wrote down the
>amendments to the text and in what context but the wider phenomena is
>nothing unusual in theatrical and orally derived texts. The traditional
>explanation for the orally derived amendments in Shakespearean studies
>has of course been 'pirates' and 'surreptious' copiers by ear.

I found what might be interpreted as an actor's addition in Troilus and
Cressida. I give the Q version:

Pan: Here, here, here he comes, a sweete ducks.
Cres. Oh Troilus, Troilus.
(4.4.12-13).

The Folio has: "a sweet ducke."  Final s's and e's look a great deal
alike in the secretary hand. Otherwise the two lines are substantially
the same.

Hypothetically, "a sweete ducks/a sweet ducke" is an "actor's addition."
Take out those three words, and you have a ten syllable line shared by
Pandarus and Cressida.  Shared lines are common in Shakespeare's text.

But there is no evidence (that I know of) that "a sweete ducks/a sweet
ducke" was first spoken by an actor and then added to the script by pen
hand unknown.  Could we assume (until we get solid evidence to the
contrary) that Shakespeare as actor/playwright with an ear for dialogue
wrote the phrase without the help, say, of Robert Armin?

Yours, Bill Godshalk

_______________________________________________________________
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DISCLAIMER: Although SHAKSPER is a moderated discussion list, the
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