Speaking of Shakespeare with Irene Dash, Nagle Jackson, and James Shapiro


The Shakespeare Conference: SHK 23.0412  Monday, 15 October 2012


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

Date:         October 15, 2012 10:20:26 AM EDT

Subject:     Speaking of Shakespeare with Irene Dash, Nagle Jackson, and James Shapiro


Speaking of Shakespeare


After a memorable conversation on Monday, September 17, with JOHN LAHR, senior theatre critic for the New Yorker magazine, The Shakespeare Guild is pleased to announce three upcoming programs that will continue its focus on the classical tradition in the dramatic arts.


On Monday, October 22, we’ll enjoy a fresh look at Shakespeare and the American Musical with Hunter College’s IRENE DASH, a scholar who has given us pioneering studies of gender roles in early-modern culture. 


On Monday, November 19, we’ll talk with NAGLE JACKSON, an actor, director, and playwright who has earned renown for his work on Broadway, at the Kennedy Center, and in such settings as the Oregon Shakespeare Festival and Princeton’s McCarter Theatre.


On Monday, December 17, we’ll be treated to a preview of The King and the Playwright, a new BBC documentary for which Columbia University’s JAMES SHAPIRO has been nominated to receive a major television award in the United Kingdom.


All three gatherings are open to the public and free of charge and will commence at 7:30 p.m. at the NATIONAL ARTS CLUB (15 Gramercy Park South) in Manhattan.   


Looking ahead, we’ll soon be announcing plans for a special GIELGUD AWARD gala to take place on Sunday, April 14, at the GIELGUD THEATRE in London. This 90-minute benefit will feature many of the luminaries who participated in the Guild’s April 2004 GIELGUD CENTENARY GALA, which occurred in the same venue and which was co-sponsored by the Royal Shakespeare Company and the Royal Academy of Dramatic Art. Our April 2013 presentation will honor three eminent artists, and it will pay tribute not only to the legacy of Sir John but to that of the playwright he did so much to keep vibrant for modern audiences.


Shakespeare and the American Musical


Monday, October 22, at 7:30 p.m.   

National Arts Club, 15 Gramercy Park South 

No Charge, but Reservations Advised


Have you ever wondered how a poet whose 450th birthday is less than two years away continues to supply material for films, TV screenplays, Broadway hits, and other forms of popular entertainment? If so, you’ll want to join us for a chat with Hunter College’s IRENE DASH, who’ll talk about Shakespeare and the American Musical, copies of which will be on hand for purchase and inscription. Russell Jackson, a consultant for several of Kenneth Branagh’s cinemas, has praised Professor Dash’s new book for its “lively and expert understanding of the theatrical medium” and for its “thorough and scholarly” grounding in plays that have inspired classics like Kiss Me, Kate and West Side Story. A pioneer in early-modern gender studies, Irene Dash is widely admired for such groundbreaking volumes as Wooing, Wedding, and Power: Women in Shakespeare’s Plays (1981) and Women’s Worlds in Shakespeare’s Plays (1997). 


A Conversation with Director Nagle Jackson


Monday, November 19, at 7:30 p.m.   

National Arts Club, 15 Gramercy Park South 

No Charge, but Reservations Advised


Not only has he earned acclaim on Broadway, at the Kennedy Center, and in other settings around the nation; NAGLE JACKSON was the first American to be invited to direct in the Soviet Union. As a producer he has enjoyed lengthy artistic directorships at the Milwaukee Repertory Theatre (1970-76) and at Princeton’s McCarter Theatre (1979-90), which has been recognized with a regional-theatre Tony Award. He has seven productions to his credit at the Oregon Shakespeare Festival, along with shows in such settings as the Hartford Stage Company, the Seattle Repertory Company, San Diego’s Old Globe Theatre, and San Francisco’s American Conservatory Theatre. Mr. Jackson is also a dramatist and actor, and his roles have included Autolycus (The Winter’s Tale), Bertram (All’s Well That Ends Well), Demetrius (A Midsummer Night’s Dream), Feste (Twelfth Night), Lucio (Measure for Measure), and Octavius (Antony and Cleopatra).


James Shapiro’s BBC Series on Shakespeare


Monday, December 17, at 7:30 p.m.    

National Arts Club, 15 Gramercy Park South 

No Charge, but Reservations Advised


As the author of such award-winning volumes as Shakespeare and the Jews (1996), Oberammergau (2000), 1599: A Year in the Life of William Shakespeare (2005), and Contested Will: Who Wrote Shakespeare? (2010), Columbia University’s JAMES SHAPIRO has established himself as one of today’s most prominent scholars and reviewers, with frequent appearances on the Charlie Rose Show and other television and radio programs, and with numerous articles in periodicals such as the New York Times. On this occasion he’ll preview a riveting segment from his latest endeavor, a three-hour BBC documentary, The King and the Playwright, which has been shortlisted for a major TV award in the UK. After Mr. Shapiro screens his fascinating account of the 1605 Gunpowder Plot against James I and his court, and its impact on the chief dramatist for the theatrical company that profited from the monarch’s own patronage, he and the Guild’s John Andrews will join the audience for an engaging discussion of the episode.


For additional detail about these and other offerings, and for information about membership in The Shakespeare Guild, visit the website below or contact


John F. Andrews

The Shakespeare Guild

5B Calle San Martin       

Santa Fe, NM 87506


Redcrosse in Coventry


The Shakespeare Conference: SHK 23.0411  Monday, 15 October 2012


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

Date:         October 15, 2012 9:52:13 AM EDT

Subject:     Redcrosse in Coventry


British Shakespeare Association

On the evening of Saturday the 17th of November the RSC will be performing Redcrosse, the new poetic liturgy for England and St George which BSA member Professor Ewan Fernie (Shakespeare Institute) wrote with the major poets Jo Shapcott, Michael Symmons Roberts and Andrew Motion, and the theologian Andrew Shanks, as part of a multi-grant-winning Religion and Society project.  Redcrosse got considerable national press last year, in The Guardian, on radio and television, and even in The Daily Star, when it was performed in Windsor Castle and Manchester Cathedral.  Its RSC production in the modernist masterpiece of Coventry Cathedral will be its most dramatic and exciting instantiation to date.  Don’t miss it.  For further details and tickets, please see the link below.


http ://www . coventrycathedral . org . uk/goldenjubilee/EVENTDETAIL2 . php?event_id_choice=19400


Dr Rowan Williams on Redcrosse:

‘How do we think about identity in ways that don’t reflect anxiety, fear of the other, uncritical adulation of our past and all the other pitfalls that surround this subject? The Redcrosse project manages to negotiate these difficulties with immense imaginative energy and honesty: no sour notes, no attempt to overcompensate by desperately overapologetic rhetoric, simply a recovery of deep roots and generous vision. As much as it takes its cue from Spenser, it’s a contemporary working out of some of the great and inexhaustible legacy of Blake, a unique contribution to what is often a pretty sterile discussion of who we are in these islands.’


Dr Rowan Williams

Archbishop of Canterbury


Shakespeare Works When Shakespeare Plays


The Shakespeare Conference: SHK 23.0410  Monday, 15 October 2012


From:        UC Davis - School of Education <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         Thursday, Oct 11, 2012 at 7:11 PM

Subject:     Shakespeare Works When Shakespeare Plays


Shakespeare Works When Shakespeare Plays 

A Workshop-Conference for Teachers


A dynamic three-day conference for English and Drama teachers held on January 18 – 20, 2013


Teaching Artists from some of the world’s most respected Shakespeare Theatres will share active and playful approaches to enliven the teaching of Shakespeare. The weekend is presented by the UC Davis School of Education and the Robert and Margrit Mondavi Center for the Performing Arts at UC Davis in association with Globe Education (Shakespeare’s Globe, London) and the Shakespeare Theatre Association. 


Download our e-flier here.


Register Now

Register here

Early Bird Registration until November 1: $349. 

After November 1: $375. 

Send a team and save. 

Groups of six or more take $30 off per registration.


Invited Presenters


American Shakespeare Center (Virginia)

Atlanta Shakespeare Festival

Chesapeake Shakespeare Company

Folger Shakespeare

Oregon Shakespeare Festival

San Francisco Shakespeare Festival

Shakespeare’s Globe (London)

Shakespeare & Company (Lennox, Mass.)

Shakespeare Center of Los Angeles

Stratford Shakespeare Festival (Canada)

Utah Shakespeare Festival


We invite you to join us for a weekend of lively workshops designed to provide teachers with strategic, practical approaches to understanding Shakespeare’s work and the connections and applications that his work inspires. Our second annual conference at the beautiful Mondavi Center, UC Davis, brings together actors, directors and teaching artists from the world’s leading Shakespeare festivals to share their insights for teaching Shakespeare in the classroom.


Please Visit The Conference Website For More Information:

Juliet is the Sun


The Shakespeare Conference: SHK 23.0409  Friday, 12 October 2012


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

Date:         October 11, 2012 2:01:30 AM EDT

Subject:     Juliet is the Sun


Dear Editor,


I would like to announce that an article I wrote called “’Juliet is the sun’: the Secret Anti-coal play in ‘Romeo and Juliet’ and the Cosmic Heliocentrism of Giordano Bruno” has been published this past spring in the Area Studies Journal of Tsukuba University. Here is the link;





I first became aware of the sun-coal dichotomy in ‘Romeo and Juliet’ a few years ago, when I began investigating images of fossil fuels in fiction as my research project when I was a professor at Tsukuba University in Ibaraki Prefecture, Japan. 


But more fundamentally I think I’ve been influenced in my thinking by learning about a ceremony at the Grand Shrine at Ise (a major Shinto shrine in Japan) which excludes fossil fuels from the process of the ceremonial rebuilding of the shrine, a ceremony which occurs every twenty years. Power saws to cut the wood, or trucks, and so forth are all not allowed to be used for the wood used for the shrine.


No doubt, recent modern concerns relating to energy and renewable fuels have also influenced my ideas. Exposed to the idea that there is an economic process that can exclude fossil fuels, I began to wonder if Shakespeare had similarly wished to point to this fossil fuel/solar dichotomy with the line “Juliet is the sun”. 


Researching about coal use in Elizabethan London was pretty exciting, actually, because the data confirmed my hunch: coal use and production soared in the late 1500s and “before the end of Queen Elizabeth’s reign, in 1603, coal had become the main source of fuel for the nation, though not without complaint”, (from ‘Coal: A Human History’, by Barbara Freese, page 33). Mainly the complaints seem to have centered around the smoke, of course.


In addition, for 20 years, ever since graduate school, I had wondered why the scenes in “Romeo and Juliet” with the two lovers together exclude others from interacting with the couple. We are left with the Party Scene (where they meet), the Balcony Scene, the Good-bye Scene, and the Tomb Scene. Finally I decided that these scenes were special and provided an allegory for Mankind and the Sun, where the Sun is a source of energetic inputs into Mankind’s economy. Just as England “left” the sun to use primarily coal during the reign of Queen Elizabeth, so Romeo must leave Juliet (He says, “I must be gone and live, or stay and die”).  That is to say, at a certain point, structural dependence on fossil fuels necessitates “leaving the sun” economy.


A friend, a professor of Art History told me “your idea is radical!” I must admit that he is correct. Nevertheless, I find it convincing, and for a reason that supersedes Shakespeare’s dramatic opus: to read Shakespeare’s Sonnets is to become aware of how allegory was this playwright’s most natural mode of thought or artistic expression.


I think my interpretation may open up exciting possibilities to see in Shakespeare’s other works “sun” dramas with Man’s place and role in the universe expressed in neatly done Renaissance cosmic allegories.


My article is not behind a paywall, and though the university publishing the article is in Japan, my article is in English.


As luck would have it (I guess it’s almost too ironic that this happened to someone studying solar energy!) I left Ibaraki Prefecture and my job there after the Fukushima Nuclear accident and I now live in a small town in a mountainous region of Western Japan.


Sincerely yours,

Marianne Kimura



The Shakespeare Conference: SHK 23.0408  Wednesday, 10 October 2012


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

Date:         Wednesday, October 10, 2012

Subject:     FYI


Dear SHAKSPER Subscribers,


Things have been a bit slow of late, perhaps in part due to the midterm obligations of some.


In part, the slower traffic was something I welcomed since I have been recovering from surgery. I am becoming more myself and now would welcome renewed activity on the list. 


All announcements are welcome as are the announcing of publications as Steve Urkowitz has just done. 


Announcements are an integral part SHAKSPER’s purpose. Nevertheless, SHAKSPER is a discussion list, and I would welcome renewed discussions that are within SHAKSPER’s purview, as delineated at the General Information tab of the web site: http://shaksper.net/about/general-information


I also encourage subscribers to explore the resources on the SHAKSPER web site, http://shaksper.net/ , and to inform me of any problems or suggestions about improving it. 


Finally, I would like to thank all subscribers, some of whom have subscribed for many, many years. This list was founded to serve the Shakespeare academic community and those of similar interests and could not exist without the contributions of subscribers. Thank You.




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