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|Shakespeare and Emotions at Anzsa|
The Shakespeare Conference: SHK 23.158 Friday, 13 April 2012
Date: April 13, 2012 11:28:51 AM EDT
Subject: Shakespeare and Emotions at Anzsa
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SHAKESPEARE AND EMOTIONS
The 11th Biennial International Conference of the Australian and New Zealand Shakespeare Association in collaboration with the ARC Centre of Excellence for the History of Emotions
27-30 November 2012
The University of Western Australia
Perth, Western Australia
Keynote speakers include Farah Karim-Cooper (Shakespeare’s Globe London), Philippa Kelly (California Shakespeare Theater and UNSW), Steven Mullaney (University of Michigan) and Barrie Rutter (Artristic Director, NorthernBroadside Theatre Company). Additional keynote speakers are to be announced.
The study of emotions in history, literature, and other aspects of culture is a burgeoning field, and Shakespeare takes a very central and influential place. The conveners invite papers on any aspect of the ways in which Shakespeare and/or his contemporaries represented emotions in poetry, drama, and other works, and/or how these representations have been received by audiences and readers from the sixteenth century to the present day.
There are paradoxes to be explored—how ‘the bodily turn’ of physiological influence on emotions could in turn generate more modern models of inner consciousness alone; how concepts rooted historically in Elizabethan and Jacobean England could be adapted to fit the philosophies and concepts of later ages, through eighteenth-century literature of sensibility, nineteenth-century and Darwinian approaches, twentieth-century psychologism stimulated by Freud, and a host of others. Did Shakespeare tap into a ‘collective unconscious’ of ‘universal’ stories, or did he arbitrarily choose stories to dramatise which his affective eloquence incorporated into world literature? Why have his works proved so durable in their emotional power, both in themselves and adaptations into other media such as opera, music, film and dance? Equal attention is invited to plays in performance and in ‘closet’ critical readings, as well as textual studies and adaptations.
The New Fortune Theatre, built in 1964 to the exact dimensions of The Fortune playhouse that rivaled Shakespeare’s Globe in seventeenth-century London, will be available for original practice performances, open rehearsals, and stage-based research papers, etc.
If you wish your presentation to be considered for a Performance Workshop on the New Fortune stage, please indicate this clearly in your title.
Please bear in mind that although our venues have full capability for Powerpoint presentations and projecting files from your computers, wireless Internet reception is in some rooms unavailable. If you will need Internet access for your presentation, please make this clear in your abstract to allow us to programme accordingly.
For more details about the conference, visit http://conference.anzsa.org/