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Transformation –The Other Place

The Shakespeare Conference: SHK 25.394  Tuesday, 9 September 2014

 

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

Date:         September 3, 2014 at 7:20:08 PM EDT

Subject:    Transformation –The Other Place 

 

http://www.rsc.org.uk/about-us/transformation-phase-4.aspx

 

and

 

http://www.rsc.org.uk/about-us/the-new-top.aspx

 

Following the reopening of the Royal Shakespeare and Swan Theatres in November 2010, we continue to improve our Stratford-upon-Avon home for the benefit of visitors and audiences.

 

The next phase of the Transformation is in its early stages and includes:

  • The return of The Other Place as a new small-scale flexible studio theatre on its original site, with new rehearsal spaces and, for the first time, public access to our costume store
  • The reconfiguration of our Grade II listed costume workshop to ensure this crucial aspect of theatre production remains world class
  • Redevelopment of the Grade II listed Swan Wing, including the creation of a visitor exhibition revealing the history of our theatre making processes and opening up fascinating parts of our unique historical collection for the first time.

We are delighted that the Heritage Lottery Fund have awarded us a second stage application for £2.85 million towards the work on the Swan Wing. 

 

We’re now developing further details on all these projects and working to secure the necessary funds. This work will continue throughout 2014

 

We have a new idea for the future life of our small-scale studio space, The Other Place (TOP).

 

TOP was our studio theatre where many of our smaller productions were staged and new work developed in Stratford-upon-Avon.

 

It closed in 2005 to accommodate the creation of the temporary Courtyard Theatre to house our productions when the main theatres were closed for the transformation.

 

Mixed-use TOP

We would like to retain the existing structure of the current Courtyard Theatre and remodel its internal space to create a vibrant, new mixed-use TOP.

 

Since our small studio theatre, the TOP, closed to allow us to create the temporary 1,000 seat Courtyard Theatre, we have always planned to reinstate it. Mindful of the present economic climate and the current arts funding picture, we've explored a range of options for its future life to create a vibrant new space and resource for Stratford-upon-Avon. It also takes account of the present economic climate and the current arts funding picture.

 

We would like to:

  • Retain the existing structure of the current Courtyard Theatre
  • Remodel its internal space to create a new-style, mixed use TOP
  • Make over 30,000 costumes available to the public for the first time through our theatre tours
  • Create an attractive space which could provide opportunities for community, amateur and educational use
  • Use the space for small conferences and meetings and occasional commercial hire

The building would look very similar with the rehearsal rooms lit from above via skylights. Instead of windows, we want to insert slim reveals in the Corten steel which point to the riverside at the sides to allow light into the rest of building above the auditorium level.

 

Since our small studio theatre, the TOP, closed to allow us to create the temporary 1,000 seat Courtyard Theatre, we have always planned to reinstate it. Mindful of the present economic climate and the current arts funding picture, we’ve explored a range of options for its future life to create a vibrant new space and resource for Stratford-upon-Avon.

 

We are currently raising the funds we need for the project, and we plan to reopen The Other Place in early 2016 in time for the 400th anniversary of Shakespeare’s death.

 
 
RSC Summer 2015 Season Is Announced

The Shakespeare Conference: SHK 25.393  Tuesday, 9 September 2014

 

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

Date:         September 3, 2014 at 7:22:57 PM EDT

Subject:    RSC Summer 2015 Season Is Announced 

 

http://www.rsc.org.uk/about-us/updates/summer-2015-season-is-announced.aspx

 

Today (Wednesday 3 September) we revealed details of our summer 2015 plays, including our 'Venice' season, and marking 100 years since playwright Arthur Miller's birth.

 

Miller’s Death of a Salesman, directed by Gregory Doran, with Antony Sher as Willy Loman and Alex Hassell as his eldest son, Biff, will play in the Royal Shakespeare Theatre from March 2015.

 

‘Venice’ season:
 In the Royal Shakespeare Theatre (RST), Iqbal Khan will direct Othello, with Hugh Quarshie in the title role and Lucian Msamati as Iago. Polly Findlay will direct The Merchant of Venice.

 

In the Swan Theatre three contemporary takes on classic plays in the Swan Theatre explore the idea of the ‘outsider’:

 

Trevor Nunn directs Henry Goodman in the title role of Ben Jonson’s Volpone.

 

Justin Audibert and Matthew Dunster make RSC directing debuts with The Jew of Malta by Christopher Marlowe and Love's Sacrifice by John Ford

 

New ‘First Encounter with Shakespeare’ tour:
The Famous Victories of Henry V tours partner schools and theatres across England in a new production specially for young people.

 

The play, directed by Owen Horsley, condenses the three great plays of Henry IV Parts I & II and Henry V into a 90-minute adventure for eight to 13 year olds.

 
 
RSC Histories

The Shakespeare Conference: SHK 25.392  Tuesday, 9 September 2014

 

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

Date:         September 3, 2014 at 10:15:05 AM EDT

Subject:    RSC Histories 

 

http://www.rschistories.org.uk/

 

RSC Artistic Director Gregory Doran and the creative team that brought you the acclaimed production of Richard II continue their exploration of Shakespeare’s History plays at the Barbican with 1 Henry IV and 2 Henry IV: 29 November 2014 to 24 January 2015.

 

About

 

The second and third play in Shakespeare's series of histories covering the reigns of Richard II, Henry IV and Henry V. Shakespeare muses on the consequences of actions, the role of princes and the realities of wielding power.

 

RSC Associate Artist Antony Sher returns to the Company to play the infamous comic knight Falstaff. He is joined by Jasper Britton as Henry IV, Alex Hassell as Prince Hal and Paola Dionisotti as Mistress Quickly. Jasper returns following his performances in The Taming of the Shrew/The Tamer Tamed (2003). Alex returns to the RSC following his recent credits in A Midsummer Night's Dream, Cardenio and The City Madam (2011).

 

PART I

With his crown under threat from enemies both foreign and domestic, Henry IV prepares for war. As his father gets ready to defend his crown, Prince Hal is languishing in the taverns and brothels of London, revelling in the company of his friend, the notorious Sir John Falstaff. With the onset of war, Hal must confront his responsibilities to family and throne.

 

PART II

King Henry’s health is failing but he is uncertain Hal is a worthy heir. Meanwhile, Falstaff is sent to the countryside to recruit fresh troops, where he gleefully indulges in the business of lining his own pockets. As the King’s health continues to worsen, Hal must choose between duty and loyalty to an old friend in Shakespeare’s heartbreaking conclusion to this pair of plays.

 

Each part is 2 hours 45 mins/plus a 20-min interval

 
 
Announcement: Digital Acting Parts

The Shakespeare Conference: SHK 25.391  Tuesday, 9 September 2014

 

From:        Laura Estill < This e-mail address is being protected from spambots. You need JavaScript enabled to view it >

Date:         September 4, 2014 at 10:51:59 AM EDT

Subject:    Announcement: Digital Acting Parts

 

Announcement: Digital Acting Parts

 

Are your students performing Shakespeare? Is your theatre doing a Shakespeare show? We built a tool to help! Check it out: http://digitalactingparts.tamu.edu/

 

In the early modern period, rather than having access to a full-text play, actors learned their lines using “Actors’ parts,” hastily handwritten documents that provided them with only their cues and lines. Traditionally, today’s actors learn their lines from full-text plays, without any computer assistance. Digital Acting Parts (DAP) is an online environment that both mimics and enhances the early modern acting experience in order to facilitate actors learning their lines. DAP is the first project to give users an interactive experience with an early-modern-inspired “actor’s part,” which encourages both active reading and memorization, in turn leading to a better understanding of the texts themselves.

 

Digital Acting Parts was created by Laura Estill ( This e-mail address is being protected from spambots. You need JavaScript enabled to view it ) and Luis Meneses ( This e-mail address is being protected from spambots. You need JavaScript enabled to view it ) in the Initiative for Digital Humanities, Media, and Culture at Texas A&M.  We welcome your feedback.

 

Laura Estill

Assistant Professor of English

Texas A&M University

Editor, World Shakespeare Bibliography

www.worldshakesbib.org

 
 
Latest Issue of Cahiers Elisabéthains

The Shakespeare Conference: SHK 25.390  Tuesday, 9 September 2014

 

From:        Jean-Christophe MAYER < This e-mail address is being protected from spambots. You need JavaScript enabled to view it >

Date:         September 7, 2014 at 1:52:31 PM EDT

Subject:    Latest Issue of Cahiers Elisabéthains

 

Dear List Members,

 

The latest issue of Cahiers Elisabethains is now available: Cahiers Elisabethains 85 (2014), Manchester University Press.

  • For more details about subscriptions and information about the journal please got to:

http://www.manchesteruniversitypress.co.uk/journals/ce

 

Best wishes,

Jean-Christophe Mayer and Nathalie Vienne-Guerrin

Co-General Editors

 

CONTENTS

 

ARTICLES

Judicious, sharp spectators? Form, Pattern and Audience in Early Modern Theatre: Some Problems

C. W. R. D. Moseley

 

Shakespeare at Work: Four Kings and Two Shrews

Warren Chernaik

 

Within / This ruined cottage’: Witchcraft, Domesticity and Inwardness in The Witch of Edmonton

Muriel Cunin

 

NOTES

Carducci Reads Marlowe: Dante and Doctor Faustus (B-Text)

Roy Eriksen

 

The 1574 Mirour for Magistrates as a possible source of ‘Feath’red King’ in Shakespeare’s ‘The Phoenix and the Turtle’

Richard M. Waugaman

 

PERFORMANCE IN CONTEXT ARTICLE

The reflective part of man: Javor Gardev’s Bulgarian Shakespeares

Boika Sokolova

 

PLAY REVIEWS

The 2013 Stratford, Ontario, Shakespeare Festival Plays: Measure for Measure, The Tom Patterson Theatre, 26 June 2013; Romeo and Juliet, directed by Tim Carroll, The Festival Theatre, 27 June 2013; Othello, directed by Chris Abraham, The Avon Theatre, 13 August 2013; The Merchant of Venice, directed by Antoni Cimolino, The Festival Theatre, 31 August 2013

Dana E. Aspinall

 

Henry V, directed by Paul Mullins, Shakespeare Santa Cruz, Sinsheimer-Stanley Festival Glen, Santa Cruz, California, 9 August, 2013.

Marina Favila

 

Romeo and Juliet, directed by Bobbie Steinbach & Allyn Burrows for the Actors’ Shakespeare Project, The Strand Theatre, Dorchester, Massachusetts, 12 October 2013; Romeo and Juliet, directed by David Leveaux, Richard Rodgers Theatre, 226 West 46th Street, New York City, 7 November 2013

Richard J. Larschan

 

The Massacre at Paris, by Christopher Marlowe, directed by Jeremy L. West, Blackfriars Playhouse, Staunton, Virginia, 24 June 2013, rear stalls centre.

Helen Osborne

 

Macbeth, directed by Jacquelyn Bessell for the Performance Research Group, salle Dugès, Faculté de Médecine, Montpellier, 29 June 2013

Alban Déléris

 

Richard II, directed by Claus Peymann for the Berliner Ensemble and the Vienna Burgtheater, Printemps des Comédiens, Amphithéâtre d’O, Montpellier, 26 June 2013

Maggie Domon

 

Macbeth, directed by Laurent Pelly and translated by Jean-Michel Déprats, Théâtre des Amandiers, Nanterre, 5 and 12 October 2013

Stéphane Huet

 

Le Conte d’hiver (The Winter’s Tale), translated by Daniel Loayza, directed by Patrick Pineau, La Coursive, Scène nationale, La Rochelle, 13 November 2013

Stéphanie Mercier

 

Othello, directed by Jack Nieborg for Shakespeare Theater Diever, Diever, The Netherlands, 21 August 2013.

Coen Heijes

 

Dido, Queen of Carthage, directed by Perry Mills for Edward’s Boys, Levi Fox Hall, Stratford-upon-Avon, 20 September 2013

Peter J. Smith

 

Richard II, directed by Gregory Doran, Royal Shakespeare Theatre, Stratford upon Avon, 21 October 2013

Peter J. Smith

 

Antony and Cleopatra, edited and directed by Tarell Alvin McCraney, The Swan Theatre, Stratford-upon-Avon, 14 November 2013

Peter J. Smith

 

Macbeth (The Notes), adapted and directed by Dan Jemmett, Sortie Ouest, Béziers, France, 15 January 2014

Florence March and Janice Valls-Russell

 

BOOK REVIEWS

Ruth Morse, Helen Cooper, and Peter Holland, eds, Medieval Shakespeare: Past and Presents (Cambridge, Cambridge University Press, 2013)

David Salter

 

Shakespeare’s Erotic Mythology and Ovidian Renaissance Culture, edited by Agnès Lafont (Farnham, Surrey, Ashgate, 2013)

Goran Stanivukovic

 

Farah Karim-Cooper and Tiffany Stern (eds), Shakespeare’s Theatres and the Effects of Performance (London & New York, Bloomsbury, 2013)

 

Kevin A. Quarmby, Oxford College of Emory University

Paul Edmundson, Paul Prescott and Erin Sullivan, eds., A Year of Shakespeare: Reliving the World Shakespeare Festival, The Arden Shakespeare (London & New York, Bloomsbury, 2013)

Nathalie Rivère de Carles

 

Alexa C. Y. Huang, Weltliteratur und Welttheater: Ästhetischer Humanismus in der kulturellen Globalisierung (Bielefeld, Transcript Verlag, 2012)

Géraldine Fiss

 
 
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