CFP: Shakespeare, Performance, Place

 

The Shakespeare Conference: SHK 23.0391  Monday, 24 September 2012

 

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

Date:         September 21, 2012 7:50:51 PM EDT

Subject:     CFP: Shakespeare, Performance, Place

 

British Shakespeare Association

 

CALL FOR PAPERS

 

Shakespeare, Performance, Place

2-3 November 2012

Queen’s University, Belfast

 

This two-day conference investigates Shakespearean performance and its relationship to place, location and geography. The themes are chosen to coincide with the first Shakespearean production to be staged at Belfast’s new Lyric Theatre and performance is defined broadly to encompass theatrical event, film, television and mass media. Plenary speakers include Dr Patrick Lonergan (Galway), Dr Lucy Munro (Keele), Prof. Stuart Hampton-Reeves (University of Central Lancashire) and Prof. Mark Thornton Burnett (QUB).

 

The conference is a collaboration between the School of English, Queen’s University, the British Shakespeare Association and the Irish Renaissance Seminar.

 

The conference fee is £30, which includes a tour of the new Lyric Theatre, a ticket to see Macbeth (directed by Lynne Parker), a new Shakespeare film showing, coffee, lunches and reception.

 

If you are interested in offering a paper or just attending the conference please contact Dr Ramona Wray before 28 September 2012. A number of postgraduate bursaries have been generously provided by the BSA – again please contact Dr Ramona Wray for details.

 

Lear Analysis

 

The Shakespeare Conference: SHK 23.0390  Friday, 21 September 2012

 

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

Date:         September 19, 2012 3:51:04 PM EDT

Subject:     Re: Lear Analysis 

 

Steve Urkowitz argues that Q1 and Folio King Lear’s line “Alb. Saue him, saue him” should not be editorially reassigned to “All”. He may be right, but his technical arguments for this are unsound.

 

Urkowitz claims that a compositor would set “All” using a double-ell ligature (so two pieces of type in all, an “A” and an “ll”), and would be unlikely to accidentally set instead the three pieces (“A”, “l”, and “b”) needed for “Alb”. Thus, according to Urkowitz, All>Alb is an unlikely mis-setting for a compositor to make, and hence editors should not assume it was made and on that basis ‘correct’ it.

 

In facsimiles I can’t see any true double-ell ligatures in Q1 or Folio King Lear—that is, two ells joined in the inked impression and printed from a single piece of type that was made from a single matrix—but there are what might be tied letters made by putting two matrices in the mould and casting them together as a single piece of type. In the Folio there are pairs of adjacent ells where both are upside down, which is an unlikely error unless both were on a single piece of type. (Hinman discusses them in Printing and Proof-Reading 1.288-9).

 

Except where accidentally inverted, it’s not possible reliably to distinguish two ells on a single piece of type from two ells on individual pieces of type, since unlike a true ligature the inked impressions aren’t joined. So there’s no way to even count how many such two-on-one pieces of type were used in a book.

 

Without any idea of how many such pieces of type were used, there’s no reason to suppose, as Urkowitz does, that using them was the normal practice. And even if it was, there was nothing to stop a compositor choosing on a given occasion to use two pieces of type instead, perhaps because he ran out of the tied ones. (Blayney thinks that Nicholas Okes setting Q1 King Lear was short of ligatures.) Thus, Urkowitz’s argument from “tactile memory” collapses, since in fact we don’t know that setting “All” normally only needed two pieces of type.

 

Urkowitz thinks it unlikely that the compositors’ copy actually read “All” but this was misread by the compositor who in response deliberately set “Alb”. However, in manuscript this error (seeing “b” where “l” is written) is not hard to make. Giles E. Dawson and Laetitia Kennedy-Skipton’s Elizabethan Handwriting 1500-1650: A Manual shows plenty of hands in which these two letters aren’t terribly different from one another.

 

Gabriel Egan

Shakespeare in Plain English

 

The Shakespeare Conference: SHK 23.0389  Friday, 21 September 2012

 

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

Date:         Friday, September 21, 2012

Subject:     Shakespeare in Plain English

 

My daughter Rebecca, whose 19th birthday is today, sent me the following from Sporcle (mentally stimulating diversions) with the Subject “lulz”:

 

http://www.sporcle.com/games/druhutch/shakespeare-in-plain-english

 

It is a game, “Shakespeare in Plain English,” in which you have 8 minutes to pick the plain English versions of 26 Shakespeare quotations. 

 

Shakespeare’s Globe: September 2012 Events

 

The Shakespeare Conference: SHK 23.0388  Friday, 21 September 2012

 

From:        Shakespeare’s Globe <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         Friday, September 21, 2012 11:53 AM

Subject:     Shakespeare’s Globe: September 2012 Events

 

Our immensely popular 2012 theatre season is drawing to a close with almost all remaining shows having sold out. Do check with our Box office for returns. It is the last chance to catch the witty sparring in The Taming of the Shrew and dark abuse of power in Richard III

 

Twelfth Night opens 22 September: Mark Rylance reprises his widely celebrated performance of Olivia in this award-winning production. Actors Colin Hurley and Peter Hamilton Dyer share their experiences of the production in our Perspectives platform discussion on 4 October. Twelfth Night will transfer to The Apollo Theatre in the West End, opening 2 November 2012.

 

Globe on screen: Our cinema series will be screening these gems of the 2011 ‘The Word is God’ theatre season—Much Ado About Nothing, All’s Well That Ends Well, and Doctor Faustus—across the UK, Australia, and New Zealand from 26 September and USA from 11 October. 

 

Our Education events programme, Merry Meetings continues to inform and inspire through pre and post show talks and platform discussions with actors. 

 

200th performance of Read not Dead series: On 23 September, Globe Education celebrates the 200th Read Not Dead performance with a reading of Philip Massinger’s A New Way to Pay Old Debts. Since 1995, this hugely popular series has been staging readings of rarely performed plays by Shakespeare’s contemporaries.

 

Building the indoor Jacobean theatre: In October work will start on the new indoor Jacobean theatre so you will notice some changes to our site. The Globe Exhibition, Shop, and Swan will be open for business as usual but entrance will be from Bankside. The foyer will be closed.

 

Half Term in the Exhibition: This October half-term the Exhibition & Tour will be creating a spooky Halloween inspired pumpkin patch—help out by drawing your own design. Throughout the day, there will be family friendly live demonstrations, including sword fighting and live dressing taking place; all included in the price of your ticket. Suitable for all the family.

 

To celebrate Halloween and the changing of the seasons we are giving away a coveted life-like, replica skull (worth £50.00) for you to play your very own Hamlet with during those “Yorick moments”. 

 

Lear Analysis

 

The Shakespeare Conference: SHK 23.0387  Tuesday, 18 September 2012

 

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

Date:         September 18, 2012 8:59:05 AM EDT

Subject:     Re: Lear Analysis

 

Sid Lubow suggests a “head to head” contest on the various LEAR hypotheses.  Alas, for a contest we’d really have to have some agreement on the rules of engagement and judgment, and as you may have seen over the last several exchanges, it’s rather like seeing one team coming on to play tennis, one to play ice hockey, one to wrestle Sumo-style, one to decide on a disputed IRS audit, and one to compete in playing Rachmaninov.  Rules of evidence? Sure, lots of them, but A won’t even agree that B’s proffered instances exist, let alone should be measured and evaluated.

 

I’m waiting to lay hands on Stone’s analysis and to look again at Peter Blayney’s.  

 

But to come down to a particular and peculiar case in Lear that I just noticed for the first time.  When Edmund is somehow chopped by Edgar in the last scene, the first speech following in Q and F has Albany halt the combat:

 

  Alb. Saue him, saue him.    

 

(I’m taking this from the Folio, my Q copy is70 miles away at the moment. )  

Now, in the next dozen or so lines, Albany has three more speeches with the identical speech prefix.  Way back at the beginning of the play, the Folio has a somewhat similar speech unique to it, directing Albany and “Cor.”  to intervene, at least verbally, to stop a violent action: “Alb. Cor. Deare Sir forbeare.”

 

But the Oxford edition (and its derivative, Norton) in 5.3 changes “Alb.” to  “All.” with the explanatory (?) note 

 

“ALL ] BLAYNEY (Van Dam) ;  Alb.  QF

 

The Norton note, more generously, reads: 

 

Both Q and F give this speech to “Alb.” (for “Albany”), which may be a compositorial mistake for “All.”

 

Cloud-Cuckoo-Land, anyone?   Usually we blame compositors for spelling errors or for mis-reading difficult handwriting.  Somehow in the fifty-odd speeches and their prefixes in the play, the compositors of different printed texts never managed to make that particular error in reading the manuscript(s) handwriting.  

 

So maybe it was a typesetter’s typesetting blunder? Very unlikely.  Why?  The speech prefix “All” as spelled out by a typesetter goes Italic-upper-case A followed by one piece of type, the italic digraph ligature ll, or double-l; the A-l-b  speech prefix would use not two but three pieces of type, (duhhh), Italic-upper-case A, italic l and italic b.  Tactile memory, I’d propose, would keep a busy-fingered typesetter from setting three types instead of two.   

 

But thought is free, and let us imagine that the goober setting Q did mistakenly set ALB for ALL.  And no one managed to “fix” it to ALL in the painstaking generation of whatever copy was used to set the Folio.   And along the way, no one would have noticed that “Saue him, saue him” supposedly called out by everyone on stage, and having been written in everyone’s actors’ sides, still appeared in print only in the part of Albany?  Hunh?

 

But I haven’t seen Peter Blayney’s explanation; it’s on its way through interlibrary loan.

 

Nevertheless, my overactive Martin Luther gene makes me wince away from imagining how this editorial intervention shows everyone onstage intervening (at least verbally) to save the Bastard where Q and F have it done by Albany alone.  Oxford Guys, Norton Noodles!  you are messing with a moment in the greatest play  ever written.  And for what?  What theatrical aesthetic makes you believe that QF’s ALB ain’t Shakespeare and ALL is?  

 

“And appointed guard”—the variant that prompts Gerald Downs last long post?  Sorry, folks; whether it was done by compositor, stenographer, Shakespeare, the Archangel Michael, or the Tooth Fairy, maybe, one way or another as far as staging the play those particular couple of words still “ain’t worth a faht” as some of my neighbors here in Maine might say.   Whereas ALB and ALL matter a lot.  Try them out in your next classroom discussion of the play.  

 

So the game I come to play is putting on plays.  I blow my referee’s whistle when [a] folks like the Oxford editors change the script(s), and [b] when folks like Gerald Downs blow so much smoke about peripheral matters that the central actions disappear from the discourse. Ain’t enough “band-width” in our lives.  

 

Steve Whistlewitz 

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