CFP: This Rough Magic

 

The Shakespeare Conference: SHK 23.0238  Wednesday, 13 June 2012

 

From:        Michael Boecherer <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         June 12, 2012 8:34:10 AM EDT

Subject:     CFP: This Rough Magic

 

This Rough Magic (www.thisroughmagic.org) is a journal dedicated to the art of teaching Medieval and Renaissance Literature. We are seeking academic, teachable articles that focus on, but are not limited to, the following categories:

  • Authorship
  • Genre Issues
  • Narrative Structure
  • Poetry
  • Drama
  • Epic
  • Nation/Empire/Class
  • Economics
  • History
  • Religion
  • Superstition
  • Philosophy and Rhetoric
  • Race/Ethnicity
  • Multi-Culturalism
  • Gender
  • Sexuality
  • Art

We also seek short essays that encourage faculty to try overlooked, non-traditional texts inside the classroom and book reviews.

 

Submission deadline for our Winter 2012 issue is currently October 1st, 2012.

 

For more information, please visit our website www.thisroughmagic.org or contact Michael Boecherer (This email address is being protected from spambots. You need JavaScript enabled to view it.).

 

Faculty and Graduate Students are encouraged to submit.

 

This Rough Magic's editorial board members are affiliated with the following academic institutions and organizations:

  • The American Shakespeare Center
  • Bridgewater State University
  • The Catholic University of America
  • Fitchburg State University
  • Newman University
  • State University of New York - Stony Brook
  • Suffolk County Community College
  • University of Connecticut
  • Vassar College

Michael Boecherer

Department of English

Suffolk County Community College - Riverhead Campus

Telephone: 631-548-2587

www.thisroughmagic.org

 

Yale Repertory Theatre to Mount Hamlet in 2013

 

The Shakespeare Conference: SHK 23.0237  Tuesday, 12 June 2012

 

[1] From:        Conrad Bishop <This email address is being protected from spambots. You need JavaScript enabled to view it.>

     Date:         June 11, 2012 3:40:44 PM EDT

     Subject:     Re: Yale Ham 

 

[2] From:        Robert Projansky <This email address is being protected from spambots. You need JavaScript enabled to view it.>

     Date:         June 12, 2012 5:51:05 AM EDT

     Subject:     Re: Yale Ham 

 

 

[1]-----------------------------------------------------------------

From:        Conrad Bishop <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         June 11, 2012 3:40:44 PM EDT

Subject:     Re: Yale Ham

 

>But somehow I cannot picture him as Hamlet.  John Adams, sure. 

>Hamlet? Not so much. I wondered how others viewed this particular 

>casting.

 

It’s the production that will make that determination.  And I think casting is a much more powerful illuminator of the potentials of a text than any sort of period costuming, etc.

 

Only thing I could say is to suggest a productive way to look at casting in general. Perhaps for most directors, there exists an image of the character in mind, and the call goes out to whomever seems best to fit that image.

 

If I’m casting a role, I take a different approach.  Assuming the actor has the basic technique and seems like a good collaborator, I try to see what the role would be with him in it, what questions it would bring up - e.g. what illuminations or strains would it put on the whole play to have a Willy Loman with the characteristics of Lee J. Cobb, Dustin Hoffman, Brian Dennehy, or Philip S. Hoffman (all successful, all radically different)?

 

From what little I know of Giamatti’s work (2 films), he might bring an “ordinariness” to the Prince that would bring the political struggle of the play into a stronger balance than the star-vehicle aura usually projected.  Not hard to imagine Olivier’s Hamlet assassinating a king, much more interesting to imagine the throes of confusion, cowardice, spurts of rage and madness that would beset a less “princely” guy.  We tend to take our image of Hamlet from Ophelia’s “O what a noble mind . . . ” speech, but she may not be the most objective judge of that.  Hamlet certainly has great monologs, but for all his hair-splitting logic he’s a pretty conventional thinker.  In any case, Hamlet is a man who clearly feels he’s radically unsuited for his role, and I could see that powerfully in play with this casting.

 

That said, we’ll see.

 

Cheers-

Conrad

 

[2]-------------------------------------------------------------

From:        Robert Projansky <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         June 12, 2012 5:51:05 AM EDT

Subject:     Re: Yale Ham

 

Marilyn A. Bonomi reports that Paul Giamatti is to play Hamlet in the spring at the Yale Repertory Theater and wonders how others view this casting. 

 

Call me old-fashioned, but if I were casting Hamlet I would try to find a skillful young fellow with leading-man looks and some star quality to do that heavy lifting. Paul Giamatti has neither and he’s forty-five. Indeed, his balding lumpy-dumpy look is plainly part of why he’s cast in the movie roles he gets. He has trunks full of awards, so it doesn’t matter that I usually don’t much care to watch him, but unless you can tell me he has a way with Shakespeare’s verse unmatched in the English-speaking world, I’m not really interested in seeing him play Hamlet anywhere. 

 

Of course, taste in actors is much like taste in other things (that’s why they have chocolate and vanilla), and obviously the artistic director of the Yale Rep (who is also dean of the Yale School of Drama) sees other merits in him. In addition to his appeal as a local boy, Paul Giamatti has a Yale College BA, a Yale School of Drama MFA, is a member of masters-of-all-creation secret society Skull and Bones, and is a son of the late baseball commissioner Bart Giamatti, former president of Yale University. Go figure. 

 

Best to all

Bob Projansky

 

Stratford-upon-Avon Lodgings

 

The Shakespeare Conference: SHK 23.0236  Tuesday, 12 June 2012

 

From:        Don Weingust <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         June 11, 2012 7:57:49 PM EDT

Subject:     Stratford-upon-Avon Lodgings? 

 

With Hardy’s indulgence, I wonder if we might create a bit of a Yelp moment on the SHAKSPER list:

 

Do members have suggestions regarding relative merits of specific B and B or hotel accommodations in Stratford-upon-Avon in early August?

 

Cheers,

Don Weingust

 

[Editor Note: I love the Ambleside Guest House, where I have stayed with or without my family, for more years than I can remember. The problem is that the Ambleside is so popular that I book it two years in advance after each ISC. I am sure that you will get many other excellent suggestions, so not to worry. –Hardy]

 

Hamlet Opera

 

The Shakespeare Conference: SHK 23.0235  Monday, 11 June 2012

 

From:        Michelle Assay <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         June 9, 2012 5:35:48 AM EDT

Subject:     Re: SHAKSPER: Hamlet Opera

 

Hello,

 

I am very disappointed: why do I get to hear about Hamlet Opera only the next day after its broadcast? It’s really a Shame! I wish it was announced the day before it! Any chance of finding it on replay?

 

And secondly, it’s not really a rare thing, an opera being shorter than the play . . .  No, I can give you many many, many examples!

 

Best,

Michelle Assay

Musicologist

Université de Paris, Sorbonne 

 

Shenandoah Shakespeare’s “’Tis Pity She’s a Whore”

 

The Shakespeare Conference: SHK 23.0234  Monday, 11 June 2012

 

From:        Ellen Moody <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         June 10, 2012 8:37:31 PM EDT

Subject:     Shenandoah Shakespeare’s “’Tis Pity She’s a Whore”

 

Dear all,

 

This is a magnificent dark farce production not to be missed. If you are at all within driving distance . . . support this company. As I expect many on this listserv know, they do not only play Shakespeare, but many of his fellows, plays hardly ever done (Massinger’s Roman Actor, B & F’s Maid’s Tragedy (even):

 

A blog review:

 

http://ellenandjim.wordpress.com/2012/06/10/john-fords-tis-pity-shes-a-whore-on-doing-a-sexually-radical-playin-the-shenandoah-valley/

 

Ellen Moody

 

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