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 

The Archbishop’s Oration and the Tudor Myth


The Shakespeare Conference: SHK 23.0386  Tuesday, 18 September 2012


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

     Date:         September 17, 2012 5:30:16 PM EDT

     Subject:     Re: H5 & Tudor Myth


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

     Date:         September 17, 2012 7:31:36 PM EDT

     Subject:     Re: SHAKSPER: H5 & Tudor Myth 




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

Date:         September 17, 2012 5:30:16 PM EDT

Subject:     Re: H5 & Tudor Myth


For the Archbishop’s oration, Shakespeare had a lot draw on from Hall’s Chronicle.  Several years ago, I transcribed the 1550 edition from the fine color images at Penn for a still-in-progress electronic edition.  I have sent my transcription of the several pages of Hall to Mr. Greenberg.


For those interested, the Penn page images of Archbishop’s oration and related parliamentary matters begin at running to ...93.  The 1550 chronicle’s page numbering is by reign and is not reliable.  But as numbered, the section of Hall the second year of Henry V, folio 3v to 9r.  In Sir Henry Ellis’ 1809 edition of Hall (a fairly reliable melding of the 1548 and 1550 editions), the transcription is reflected on pp. 49-57.


BTW, I see that Wikipedia still buys the idea that there was a 1542 edition of Hall.  Doubtful, and in any case no copy survives.



Al Magary



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

Date:         September 17, 2012 7:31:36 PM EDT

Subject:     Re: SHAKSPER: H5 & Tudor Myth


Thanks to all those who provided the necessary source material from Holinshed and Hall. I'm not entirely sure what is the proper scholarly citation assuming the citations are going to be made.


I’ve also found that one Robert Redman, or Redmayne, provided an account, possibly in Latin, of Henry V’s reign.


No scholar I, but I have read some useful material on the role of the Chronicles as proto-history, and their gradual fading after further dissemination as function of the invention of the printing press as well as other factors.


What I also have at hand are several marvelous quotations about the fanciful nature of a great deal of stuff in any of the Chronicles, the number of people gathered together under the rubric of one Chronicle, the role of publishers themselves in putting these out, et cetera. I’m more and more thinking that I should stick the central dramaturgical changes I’m offering, and leave the issue of the reliability or non-reliability of the Chronicles as a vexed questions, vis-a-vis Henry Chichele or Chichely’s actual presence or absence at the Leicester parliament. Also I should probably not say very much in the way of speculating what was in the Chroniclers’ mind(s) or Shakespeare’s as to the veracity of the Oration. The past, as I think someone said, is a very different country, and they do things differently there.


I remain convinced that whatever version of the speech or method of performance, it is absolutely crucial that the audience of today understand that the single argument about the Salic territory not being part of France is insufficient as a casus belli. While one cannot say for certain what percentage of an audience of 1599 understood the importance of establishing the correctness of Henry’s dynastic rights, given the ongoing debates and worries as to who should succeed Elizabeth would have made a lot of folks cognizant of the rightfulness of lineage according to divine and human law.


Thanks again, and if anyone can tell me more about the Robert Redmayne or Redman chronicle, that would be useful too. So far, one or two references but no actual material per se out there. HR Greenberg MD


Macbeth: A Novel


The Shakespeare Conference: SHK 23.0385  Tuesday, 18 September 2012


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

Date:         Tuesday, September 18, 2012

Subject:     Macbeth: A Novel


I just completed A.J. Hartley’s and David Hewson’s Macbeth: A Novel, and I enjoyed it very much.


The novel is not a retelling so much as a work of its own merit that fleshes out events of the play and Holinshed that in many ways better explains the motives and actions of Macbeth and Lady Macbeth (Skena in the novel), creating sympathetic but deeply flawed characters.

Shakespeare Event Fri Sept 28, 1:00 Univ of Maryland


The Shakespeare Conference: SHK 23.0384  Tuesday, 18 September 2012


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

Date:         September 18, 2012 9:57:43 AM EDT

Subject:     Shakespeare Event Fri Sept 28, 1:00 Univ of Maryland


SHAKSPER subscribers might be interested in the following talk by Alex Huang on Friday Sept 28th, (1:00 p.m.) which is being presented in conjunction with the UMD School of Theatre, Dance and Performance Studies /National Academy of Chinese Theatre Arts co-production of A MIDSUMMER NIGHT’S DREAM. Both are in the Clarice Smith Performing Arts Center. 



Professor Alex Huang


Director of the Dean’s Scholars in Shakespeare Program


Associate Professor of English, Theatre and Dance, 
East Asian Languages and Literatures, and International Affairs 
George Washington University



Public Lecture


“What country, friends, is this?”

The Meanings of Shakespeare and Asia Today


This illustrated presentation explores the unique challenges and rewards of touring Shakespeare productions, drawing on several cases of Asian adaptations at the World Shakespeare Festival at the London Globe during the London Olympics in summer 2012.


Friday September 28, 2012

1:00 to 2:00 pm

Clarice Smith Performing Arts Center

Leah M. Smith Hall, (room #2200)

Presented in conjunction with the UMD School of Theatre, Dance and Performance Studies /National Academy of Chinese Theatre Arts co-production of




Clarice Smith Performing Arts Center, Kay Theatre

September 27-30, 2012



Public Lecture co-sponsored by:
The UMD Center for East Asian Studies

The Shakespeare Globe USA Research Archive

School of Theatre, Dance and Performance Studies

Department of English

UMD Asian American Studies Program

UMD PhD Program in Theatre and Performance Studies.


Alex Huang is Director of the Dean’s Scholars in Shakespeare Program and Associate Professor of English, Theatre and Dance, East Asian Languages and Literatures, and International Affairs at George Washington UniversityHis teaching and publications are unified by a commitment to understanding the mobility of early modern and postmodern cultures in their literary, performative, and digital forms of expression.


He has published widely in English, German, and Chinese on cultural globalization, translation, intercultural performance, Shakespeare, Chinese and diaspora studies, and digital humanities. His first book Chinese Shakespeares: Two Centuries of Cultural Exchange (Columbia University Press), which received the Modern Language Association’s (MLA) Aldo and Jeanne Scaglione Prize, the Colleagues’ Choice Award of the International Convention for Asian Scholars (ICAS), and an honorable mention of New York University’s Joe A. Callaway Prize for the Best Book on Drama or Theatre. His new book Weltliteratur und Welttheater: Ästhetischer Humanismus in der kulturellen Globalisierung (World Literature and World Theatre: Aesthetic Humanism in Cultural Globalization, 2012) examines the role of aesthetic humanism in the recent historical record of globalization. His other books include Shakespeare in Hollywood, Asia and Cyberspace (Purdue University Press; co-edited) and Class, Boundary and Social Discourse in the Renaissance (co-edited). He is also a contributor to the iPad app on The Tempest ( 


Supported by the ACLS, ISA, Folger Institute, NEH, Chiang Ching-Kuo Foundation, SSHRC, and several other institutions and agencies, Huang's research has been published in Theatre Journal, Shakespeare Survey, Theatre Survey, Asian Theatre Journal, MLQ: Modern Language Quarterly, Shakespeare Bulletin, Shakespeare, Shakespeare Studies, China Review International, Archiv für das Studium der neueren Sprachen und Literaturen, World Literature Today, and other peer-reviewed journals and books from Oxford, Cambridge, Toronto, and other publishers. 


Huang is currently a General Editor of the Shakespearean International Yearbook, chair of the MLA committee on the New Variorum Edition of Shakespeare, Performance Editor of the Internet Shakespeare Editions, and Research Affiliate in Literature at MIT where he co-founded and co-directs Global Shakespeares (, an open-access digital performance video archive. He is the incoming President of the Mid-Atlantic Association for Asian Studies (MAR/AAS), and has made guest appearances on BBC Radio, BBC 2, BBC TV, and other television and radio programs to discuss Shakespeare and globalization.



Prof. Franklin J. Hildy

Director of the PhD Program in

Theatre and Performance Studies


School of Theatre, Dance,

    and Performance Studies

2809 Clarice Smith PAC

University of Maryland

College Park, MD 20742-1601


phone 301-405-3157 fax 301-314-9599


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