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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:


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

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:


Best wishes,

Jean-Christophe Mayer and Nathalie Vienne-Guerrin

Co-General Editors





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



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



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

Boika Sokolova



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



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

2014 Shakespeare Colloquium at FDU

The Shakespeare Conference: SHK 25.389  Tuesday, 9 September 2014


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

Date:         September 7, 2014 at 12:13:04 PM EDT

Subject:    2014 Shakespeare Colloquium at FDU


2014 Shakespeare Colloquium at Fairleigh Dickinson University


October 18 is the date of the 2014 annual Shakespeare Colloquium at Fairleigh Dickinson University’s College at Florham campus in Madison, NJ.  This marks the 22nd year of these day-long events. The Colloquium runs from 9:30 a.m. to 3:30 p.m.


This year’s provocative topic is “Shakespeare Bad and Shakespeare Wrong: Rethinking the Shakespearean.” Four scholars will discuss what can be learned by “bad” and “wrong” Shakespeare—in performance and in scholarship—and what the differences are.  


Dr. Zoltán Márkus (Vassar College) asks what kind of ethical assumptions, implications, or judgments are involved in distinguishing “bad” Shakespeare” from “wrong” Shakespeare. Dr. Iska Alter (Hofstra University) will discuss how and why Shakespeare was produced in Nazi Germany. Dr. Donovan Sherman (Seton Hall University) shows how the “wrongness” of Roland Emmerich’s 2011 film Anonymous reflects on our practices as readers and audiences of Shakespeare. Finally, Dr. Emily Weissbourd (Bryn Mawr College), through a discussion of Othello and the Spanish drama of its time, shows the difference between modern and Renaissance ideas of race, servitude and interracial marriage


Harry Keyishian 

Director, Fairleigh Dickinson University Press

Professor Emeritus

Department of Literature, Language, Writing, and Philosophy 

Fairleigh Dickinson University

The Merry Wives of Windsor: New Critical Essays

The Shakespeare Conference: SHK 25.388  Tuesday, 9 September 2014


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

Date:         September 5, 2014 at 3:38:39 PM EDT

Subject:    The Merry Wives of Windsor: New Critical Essays




Dear Fellow SHAKSPER members,


I’m pleased to announce that Routledge in London will publish The Merry Wives of Windsor: New Critical Essays, edited by Phyllis Rackin and myself, on 18 Sept. 2014.  Please see the attached publicity flyer and the following link for details --


If you would ask your institutional librarian to order a copy and consider ordering a copy yourself, we would be grateful. 


All the best,



Evelyn Gajowski

Professor of English

Department of English

University of Nevada, Las Vegas

This e-mail address is being protected from spambots. You need JavaScript enabled to view it


Co-Editor (with Phyllis Rackin), The Merry Wives of Windsor: New Critical Essays, Routledge
Series Editor, Arden Shakespeare and Theory Series


Flyer: icon MMW Flyer (958.34 kB)

SAA Seminar Registration Deadline: 15 September

The Shakespeare Conference: SHK 25.387  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 4, 2014 at 11:42:50 AM EDT

Subject:    SAA Seminar Registration Deadline: 15 September


To all SAA members,


If you plan to take part in a seminar or workshop at the upcoming year’s SAA meeting in Vancouver but have not yet registered, please note that the registration deadline is fast approaching: 15 September. For descriptions of the year’s programs, visit the seminar description page.  

You may register online on the seminar and workshop page, where you will be required to submit four choices. SAA enrollments are processed on a first-registered, first-received basis. Although we make every effort to place you in your first-choice seminar or workshop, registration imbalances can render this impossible. In early October, you will receive notification of your seminar placement and an invitation to take part in the SAA’s Forty-Third Annual Meeting.

The conference will be held 1 - 4 April 2015. The meeting will open with a first group of seminars and workshops at 10:30 a.m. on the morning of Thursday, 2 April and will close with the annual dance late Saturday, 4 April. Our host hotel is the historic Fairmont Vancouver. Rooms are discounted to $135.00 USD per night for single and double occupancy; mandatory state and local taxes will be added at the current rate of 15 percent. The SAA has negotiated complimentary guestroom internet access at the Fairmont. The meeting registration fee, payable starting 1 January 2015, is $125 for faculty and postdoctoral scholars and $90 for graduate students. 


For those members interested in presenting new projects at the 2015 Digital Salon the deadline for proposals is 1 November.  Proposals may be submitted on the SAA digital salon page.


Many of you will be interested in attending the Tenth World Shakespeare Congress in the summer of 2016. The 400th anniversary of Shakespeare’s death will be marked with a conference that opens in Stratford-upon-Avon and travels to London. If you have not yet submitted a proposal for a seminar, workshop, or panel—but would like to—you will be glad to know that the deadline has been extended to 31 October 2014. For further information about the submission of proposals, please visit Those wishing to find co-chairs for seminar sessions are invited to use the noticeboard facility on the website at

I send greetings on behalf of Executive Director Lena Orlin who is currently on leave and Assistant Director Joseph J. Navitsky. We all hope to see you in Vancouver.


With best regards,

Bailey Yeager

Senior Programs Manager

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