Items for SHAKSPER Subscriber Survey


The Shakespeare Conference: SHK 23.0419  Friday, 19 October 2012

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

Date:         Friday, October 19, 2012

Subject:     Items for SHAKSPER Subscriber Survey


Dear Subscribers,


SHAKSPER has been somewhat fallow of late.


It occurred to me that having a Subscriber Survey may be useful in helping me to determine if any changes in SHAKSPER services might be called for (more of something, less of something, other things).


Before I construct the survey, I thought that I would query SHAKSPER subscribers asking for possible items that I might include in such a survey.


If you have any suggestions about the daily digest and-or the SHAKSPER web services <> please reply and let me know. 


Your input will help me determine if a survey is called for and what I might include in it.


Best wishes,

Hardy M. Cook

Professor Emeritus Bowie State University Editor of SHAKSPER: The Global Electronic Shakespeare Conference <>   This email address is being protected from spambots. You need JavaScript enabled to view it. (SHAKSPER) 

PS: The idea for a survey occurred to me after I attended Shakespeare Theatre Company’s The Government Inspector last evening at the Lansburgh Theatre. A busload of college students was brought in, seemingly to fill the seats and to provide a live “laugh track.” (I am still amazed that there are actual folks who say “like” every third word.) Anyway, I thought the production was dreadful, recycling the same shtick from other productions into the skeleton of this one, so much so that I was having deja vu moments during the entire evening. I could go on, but I don’t want to sounds as if my purpose is to trash STC, even though I think STC needs to hear my singular voice. But this morning in my inbox was an invitation to STC subscribers who attended last evening to respond to a survey. And respond I did. Well, so the idea—anyone providing a service should periodically receive feedback from those involved in it. 

Juliet is the Sun


The Shakespeare Conference: SHK 23.0418  Thursday, 18 October 2012


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

Date:         October 18, 2012 12:18:18 AM EDT

Subject:     Re: Juliet is the Sun


>I found Larry Weiss’s comment interesting


I am glad of it, . . .  (Ham, IV.ii.23-4)

Query: Winter’s Tale


The Shakespeare Conference: SHK 23.0417  Thursday, 18 October 2012


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

Date:         October 18, 2012 7:05:37 AM EDT

Subject:     Query: Winter’s Tale


Dear All:


I am studying the recent performance history of The Winter’s Tale, with a general interest in how the oracle scene is staged.


I am especially interested in one particular production, directed by David Farr in 2009, which played at the Courtyard Theatre, the Roundhouse, and an improvised theatre in NYC. In this play, apparently, when the oracle is pronounced a kind of earthquake shatters the scenery, including two towering bookcases which tumble – perhaps reminding the audience of the Twin Towers falling.


Has anyone out there seen one of these performances? Can anyone explain the exact sequence and effect of this scenery catastrophe? And does anyone know of similar or equally challenging staging effects from other productions?  I would be most interested to hear from you.


With regards,



Robert Appelbaum

Professor of English Literature

English Department

Uppsala University

Uppsala SE-751 20

Autumn Events and 2013 Theatre Season Announced


The Shakespeare Conference: SHK 23.0416  Thursday, 18 October 2012


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

Date:         October 18, 2012 8:00:40 AM EDT

Subject:     Autumn Events and 2013 Theatre Season Announced


As the seasons change, so does life at the Globe. Following our theatre season playing out in the open we are turning our thoughts to playing indoors.


Building work has already begun on the indoor Jacobean-style theatre. The foyer will be closed from 20 October until 23 April 2013. Access to the site will now be through the Groundling Gates and Exhibition entrance on Bankside.


To complement this new chapter in the Globe story a season of special events in the series Shakespeare: Playing Indoors will explore plays and play-going in the indoor theatres of Jacobean London.



2013 Theatre Season announced


Join us in 2013 for a bold and vibrant theatre season, bringing you the supernatural, new writing, touring productions and Globe to Globe. 
A Midsummer Night’s Dream, The Tempest, and Macbeth will sit at the heart of the season, while three new plays will receive world premieres – The Lightning Child by Ché Walker, with music by Arthur Darvill, Blue Stockings by Jessica Swale, and Gabriel by Samuel Adamson, featuring English trumpet soloist, Alison Balsom. 


A mid-scale tour of Henry VI, Parts 1, 2 and 3 will visit venues around the UK, including a visit to the Globe in the summer, and there will be small-scale tours of King Lear and The Taming of the Shrew, playing at the Globe and across the UK, Europe and US.


Three ground-breaking, international companies which came to London for Globe to Globe will return for a limited number of performances as part of wider international tours. We will be welcoming back the Isango Ensemble from South Africa with their delightful Venus and Adonis; from Georgia, the Marjanishvili Theatre return with their wildly imaginative As You Like It; and the internationally recognised Belarus Free Theatre bring back their production of King Lear. One final international element of the theatre season will be Footsbarn, bringing Indian Tempest.

Juliet is the Sun


The Shakespeare Conference: SHK 23.0415  Wednesday, 17 October 2012


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

Date:         October 16, 2012 2:37:33 AM EDT

Subject:     Juliet is the Sun


I found Larry Weiss’s comment interesting because “natural philosophers” of the Renaissance such as Giordano Bruno were positing the existence of tiny sub-visible particles (building on the work of some ancient Greek philosophers). “Romeo and Juliet” also shows exquisite scientific awareness. Thus when Romeo returns to the Capulet house after the mask, he says (to himself) “Turn back, dull earth, and find thy centre out”. This is a reference to the contemporary debate surrounding heliocentrism, which Giordano Bruno was involved in as well. In fact, “ Romeo and Juliet” expresses the latest heliocentric science of the Renaissance, since people were just beginning to understand that the relationships and dependencies involved in the new cosmic framework implied that the sun and only the sun was available, ultimately, to power the earth. In other words, the heliocentric idea was starting to have a thermodynamic dimension.


Besides “atomi” we might also note that another word scientific word (“infinite”) (also associated with Giordano Bruno and his new conception of an infinite cosmos) of the Renaissance appears in “Romeo and Juliet” when Juliet says “My bounty is as boundless as the sea/My love as deep, the more I give to thee, /  the more I have, for both are infinite.” Of course, this imagery of a boundless bounty also fits in nicely with a non-depleting energy source.


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