Shakespeare Pro app for iPhone/iPad

The Shakespeare Conference: SHK 27.296  Monday, 12 September 2016

 

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

Date:         September 8, 2016 at 7:12:16 PM EDT

Subject:    Shakespeare Pro app for iPhone/iPad

 

[Editor’s Note: PlayShakespeare.com freely hosts SHAKSPER.net thanks to Ron Severdia. Ron also handles the SHAKSPER.net’s often arcane technical issues and patiently answers my questions about Joomla in my capacity as web site administrator. I encourage you to consider replying to Ron’s requests for ways of improving the Shakespeare Pro app for iPhone/iPad’s usefulness for scholars and teachers of Shakespeare. I greatly value all of Ron’s assistance, and I offer my sincerest appreciation for all responses to his queries. –Hardy]he Shakespeare Pro app for iPhone/iPad

 

Hello,

 

Last month, the Shakespeare Pro app for iPhone/iPad celebrated its 8th year with over 8 million downloads. The first version of the app was quite simple, mainly consisting of our editions of Shakespeare’s works and some basic study materials. Since then, I’ve added a variety of features including search, a glossary (by Shakespeare’s Words), notes, bookmarks, the First Folio (and some quartos), extensive study materials, and more. My personal goal for the app was to be the best tool possible for the following audiences:

 

1. Actors and directors - rehearsal and research

2. Students and teachers - classroom and study

3. Scholars - research and reference

 

Now, I’m trying to determine the next steps for the future and in order to do that, I’d like to better understand the problems you are trying to solve when doing your Shakespeare-related job. Do you gather/calculate statistics about the works? Do you share snippets with your students? Do you create a new syllabus each year or semester? Do you memorize lines? I would like to better understand what types of tasks you perform and how those could be improved or even eliminated to save time.

 

Thank you for sharing your invaluable insight.

 

Ron Severdia

 

PlayShakespeare.com

The Ultimate Free Shakespeare Resource

 

Download the free Shakespeare App on iTunes

http://bit.ly/shakes-app

http://bit.ly/shakesproapp

 

Download the free Shakespeare App on Google Play

http://bit.ly/shakesandroid

 

 

CFP: Slings and Arrows

The Shakespeare Conference: SHK 27.295  Monday, 12 September 2016

 

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

Date:         September 9, 2016 at 7:59:07 PM EDT

Subject:    CFP: Slings and Arrows

 

Request for Papers

 

Edited collection for submission to the University of Toronto Press.

Slings & Arrows: Performing Shakespeare as Canada

 

Edited by Kailin Wright (St. Francis Xavier University), Don Moore (University of Guelph), Andrew Bretz (Wilfrid Laurier University)

 

Chapter proposals are invited for a collection of essays that will explore the hit Canadian television series Slings & Arrows—a show that features Shakespeare as an enduring symbol of Canada. Slings & Arrows televises the theatrical performance of national identity, as theorized by Alan Filewod, and in doing so satirizes both Canada as a nation and Shakespeare as a high-art object of veneration.

 

1. Papers on all topics related to Slings & Arrows are welcome, though the editors offer the following suggestions/questions for guidance: Shakespeare as Canada Shakespeare has been celebrated as Canada’s most popular playwright—a conceit that addresses the significance of the Stratford Festival as well as the national relevance of Slings & Arrows. The show, then, does not merely explore Shakespeare and Canada, but rather, Shakespeare as Canada. This section will be populated with chapters that take up the premise of Slings & Arrows’ investigation of the symbolism and/or metaphor of Shakespeare as Canada.

  • Slings & Arrows and Cultural Identity Though Canada is an increasingly multicultural nation and the popular performance of Shakespeare in Canada reflects that diversity, does Slings and Arrows?
  • Does Slings & Arrows represent the racial diversity, or lack thereof, in Canadian theatre today?
  • Does the lack of representation of French or of Quebecois theatre, for instance, hinder the construction of Shakespeare as Canada, understood through Slings and Arrows?

 

2. The Politics of Reception of Slings & Arrows

 

Who is the audience of Slings & Arrows? The question is deceptively simple. From the spectatorship of the New Burbage Festival audiences, to the real offstage audiences of the Stratford Festival who helped inform the creation of the show, to the real television audiences both in Canada and abroad, the exact character of Slings & Arrows’ audience shifts with kaleidoscopic perspective.

 

3. Slings & Arrows and the Canadian Theatre/Film Industry

 

The Canadian theatre industry is in some ways totally unique in the Western world and in other ways shares many of the same problems regarding funding, canonicity, diversity, and marketing as other places. Chapters in this section will investigate the ways in which Slings and Arrows both satirizes and reflects  the world of Canadian theatre and film.

 

4.Inheritance, Adaptation, and Intermediality in Slings & Arrows

 

Slings & Arrows questions Canadian theatre’s ethical inheritance of Shakespeare’s multiple, heterogenous spectres in whose “borrowed robes” institutions like the Stratford Festival have draped themselves as a way of also reconsidering our shared notions of artistic merit. Chapters in this section will investigate the hauntological and intermedial appropriation and adaptation of Shakespeare in Slings & Arrows.

 

5. Institutional Hauntings of Stratford and New Burbage

 

The relationship between the Stratford Festival and the New Burbage Festival is not one of simple identity, even though many of the actors and creators of Slings & Arrows drew upon their experiences at Stratford in the creation of the show. This section will investigate the differences, similarities, and consonances between the two festivals--one fictional, one actual--and suggest how they mutually inform each other’s histories, present, and possible futures.

 

Keywords: Shakespeare, adaptation, Canada, television, theatre, nationalism, intermediality, identity, spectres, popular/high culture, satire, audience, arts industries, Stratford Festival.

 

Final chapters should be between 6000-9000 words.

 

Please submit enquiries and chapter proposals (250-500 words) to the editors:  

 

Kailin Wright (This email address is being protected from spambots. You need JavaScript enabled to view it.)

Don Moore (This email address is being protected from spambots. You need JavaScript enabled to view it.)

Andrew Bretz (This email address is being protected from spambots. You need JavaScript enabled to view it.)

 

 by January 1, 2017. Chapters will be expected by July 31, 2017.

 

 

 

A Shakespearean Evening with Alison and Adam Gopnik

The Shakespeare Conference: SHK 27.294  Monday, 12 September 2016

 

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

Date:         September 8, 2016 at 2:53:07 PM EDT

Subject:    A Shakespearean Evening with Alison and Adam Gopnik

 

Is it True that Play's the Thing?

A Conversation With Writers

Alison and Adam Gopnik 

 

Wednesday, September 14, at 8 p.m.

The National Arts Club

15 Gramercy Park South, Manhattan

Admission Free, but Reservations Requested

 

We’re delighted to launch our 2016-17 Shakespeare Guild season with a remarkable brother-sister act. 

 

One of our most popular Speaking of Shakespeare guests over the last decade has been Adam Gopnik of the New Yorker, a brilliant observer who has given us such classics as Paris to the Moon and Angels and Ages: A Short Book on Lincoln and Darwin. But many of Adam's admirers are unaware that his older sibling is also a distinguished author. A professor of philosophy and psychology at the University of California, Berkeley, Alison Gopnik publishes a widely-read column in the Wall Street Journal.

 

Readers who saw a recent preview in the New York Times will know that Alison’s latest book is The Gardener and the Carpenter, a new study of the way children learn. Her research shows that an approach that encourages “open-ended curiosity” is the key to a life of problem-solving and creativity. She finds, in short, that Shakespeare is right, and  “play’s the thing” for educators who aspire to foster the insights and skills that lead not only to illuminating works of art but to significant breakthroughs in science, technology, and other fields of endeavor. 

 

Alison and Adam Gopnik occasionally draw from and allude to each other’s work, but it is rare for them to appear together in a conversational format. So we hope you’ll join us for what promises to be a very special evening.             

 

Visit www.shakesguild.org/events.html for detail about this and other Shakespeare Guild offerings. And please email This email address is being protected from spambots. You need JavaScript enabled to view it. if you wish to take part in this program.   

 

 

 

 

Roundtable Discussion on Collaborative Shakespeare and Education Projects

The Shakespeare Conference: SHK 27.293  Monday, 12 September 2016

 

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

Date:         September 7, 2016 at 4:12:05 AM EDT

Subject:    Roundtable Discussion on Collaborative Shakespeare and Education Projects

 

The British Shakespeare Association

 

Roundtable Discussion on Collaborative Shakespeare and Education Projects

 

The Sydney-based Shakespeare Reloaded project (shakespearereloaded.edu.au) is jointly hosting with the London Shakespeare Centre an informal roundtable discussion on the topic of collaborative projects dealing with Shakespeare and education. It will be a 2-hour session around lunchtime on Tuesday 13 September in London. If you are an academic, teacher or practitioner involved in a collaborative project in this area (which might involve, for example, partnerships between university, schools, arts or heritage organisations) and would like to share your experiences and ideas with others at this roundtable please contact Liam Semler (This email address is being protected from spambots. You need JavaScript enabled to view it.). The aim is to learn from each other’s experiences in an informal context and potentially explore possibilities for future collaborations in Shakespeare pedagogy.

 

 

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