The Shakespeare Conference: SHK 24.0246  Tuesday, 14 May 2013

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

Date:         May 14, 2013 10:33:21 AM EDT

Subject:     CFP: Société française Shakespeare: Global Shakespeare, Paris 

http://www.shakespeareanniversary.org/?Seminar-6-Global-Shakespeare-as

Société française Shakespeare conference on “Shakespeare 450,” Paris, 21-27 April 2014

Global Shakespeare as Methodology

Call for papers

Seminar leader: Alexander Huang, George Washington University.

Global Shakespeare as a cultural phenomenon and a field of study has gained much of its vitality from the sheer multiplicity of genres, cultures, and artistic and academic investments in performances as multilingual affairs. Global Shakespeare festivals, performances, and courses are proliferating, because they seem to answer competing structural demands on artists and scholars to be more transnational in outlook while sustaining traditional values. Recent studies that treat “global Shakespeare” not as news-worthy curiosities but as methodology have made meaningful contributions to Shakespeare studies. 

This seminar explores, among other topics, the potential of global Shakespeare as methodology. Papers may address emerging methodological issues by examining well-known instances such as the internationalism of Michael Almereyda’s film Hamlet or traveling stage works such as Grupo Galpão’s Romeu e Julieta. What does it entail to practice, teach, and study global Shakespeare in 2014? What is the value of local knowledge? How do aesthetics and international politics shape the conflicting myths of Shakespeare as a global author and national poet? What values and ideas does global Shakespeare sustain or undermine? 

Annotated, English-subtitled videos of works discussed in the seminar may be available on the open-access Global Shakespeares digital performance archive: http://globalshakespeares.org/. Seminar contributors and participants in the Shakespeare 450 conference can take advantage of the digital archive’s curatorial functions to facilitate further discussion. 

Deadline: August 15, 2013

Submit your name, job title, affiliation, email, paper title, and a 250-word abstract to Alexander Huang ( This e-mail address is being protected from spambots. You need JavaScript enabled to view it ) by August 15, 2013

The Shakespeare Conference: SHK 24.0245  Tuesday, 14 May 2013

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

Date:         Tuesday, May 14, 2013 7:46 AM

Subject:     Shakespeare’s Globe May News

The Season of Plenty is off to a cracking start and continues to delight with a sprightly staging of The Tempest. Jeremy Herrin’s production has received several 4 star reviews. Particularly praised were fine performances of the cast, including the charming Jessie Buckley and Joshua James as the young lovers, Roger Allams’ touchingly paternal Prospero and Colin Morgan’s highly energetic Ariel.

The magic continues when seasonal A Midsummer Night’s Dream opens at the end of May. Get closest to the action with a yard ticket for just £5. 

Taking full advantage of the British summer, King Lear is making its way around a variety of open air, and some indoor, venues across the UK and further afield. After a brief stint at the Globe from 13 - 18 May, it will play at Brighton festival before heading to West Sussex. Currently in rehearsals our other touring productions The Taming of the Shrew and the three Henry VI plays head out in June.

This year our cinema series opens with Henry V, followed by Twelfth Night and The Taming of the Shrew from the 2012 season. New locations for 2013 include venues in Hong Kong, Sweden and the Czech Republic.

Globe cinema screenings 2013. Dates and locations have been announced for venues in UK, Ireland and Australia, with many UK locations now on sale. This year includes screenings in venues across New Zealand, Hong Kong, Sweden and the Czech Republic. 

Henry V will be the first production. Shakespeare’s masterpiece of the turbulence of war and the arts of peace tells the romantic story of Henry’s campaign to recapture the English possessions in France. But the ambitions of this charismatic king are challenged by a host of vivid characters caught up in the real horrors of war.

Henry V, which opened the new Globe with the words ‘O for a muse of fire’, celebrates the power of language to summon into life courts, pubs, ships and battlefields within the ‘wooden O’ - and beyond.

Much loved for his performance as Prince Hal in Henry IV Parts 1 & 2 (2010), Jamie Parker returns to Hal’s journey as Henry V. Other credits included The History Boys at the National Theatre, on Broadway and on film.

UK, IE from 3 June

AU from 2 June

NZ from 1 June

SE, CZ, HK, RU, USA from September

Read more at http://onscreen.shakespearesglobe.com/index.php#4YvwS4gLdd6jRFKL.99

Complementing productions in the Season of Plenty, a new audio-visual lecture series exploring film adaptations of Shakespeare’s work, Howard on Shakespeare: Stage and Screen opens with an exploration of key scenes, rival visions, and extraordinary moments in King Lear on 16 May.

Running for two weeks in the summer, Shakespeare’s Globe Summer School, for 16-19 year olds gives budding actors a chance to improve their acting skills and understanding of Shakespeare. Master classes with professional actors and Shakespeare scholars help prepare students preparing for Drama school auditions.

The Shakespeare Conference: SHK 24.0244  Monday, 13 May 2013

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

Date:         May 12, 2013 5:29:58 PM EDT

Subject:     Re:  Greenblatt's Freedom

On Sonnet 148, Larry Weiss “would not jump to the conclusion that Booth and Duncan-Jones reject other glosses by implication. In this unique instance expresio unius non est exclusio alterius.”

I believe Booth and Duncan-Jones unmistakably reject Bishop’s reading by implication and that expresio unius est exclusio alteruis clearly applies here. Don’t be loathe to leap, Larry.

Joe Egert

The Shakespeare Conference: SHK 24.0241  Monday, 13 May 2013

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

Date:         May 12, 2013 3:06:11 PM EDT

Subject:     Attacking Travelers in 1H4

My thanks to Gerald Downs and JD Markel for their contributions to this atmospheric question. I remain puzzled as to why the west side of 14^th would be foggy and the east side clear, but that seemed to be the rule. If it was going to be foggy at the beach we’d know it when we hit 14^th. (I’m thinking of those heady days before girls and driver’s licenses when we’d be riding our big Schwinns with the butterfly handlebars.) 

However, I have a question of more Bardic concern. At the end Act Two, Scene 3 of 1 Henry IV, the Travelers enter, are attacked by Falstaff, Bardolph, Gadshill and Peto, surrender and are tied up. The gang then exits and Hal and Poins, disguised, come to center stage. When Falstaff et al. return, the Prince and Poins set on them and drive them off, gathering up the loot before they, too, exit.

How is this to be staged? What is to be done with the Travelers, who seem to disappear without being untied? My memories of this play are all fuddled up with movie versions, where such untidy things as bound actors on stage can be safely ignored. They have long since gone back to the snack tent, had a meal, collected their pay and started for home. On stage it’s a different matter. You really do have to do something with them. 

My preliminary assumption is that Hal and Poins untie them and shoo them away, since the two could hardly just walk off, leaving them helpless in the dark on the bandit-ridden road to Canterbury. Or do they? They have to leave with the loot, or else several lines in 2,4 will have to be changed.

Thus, I solicit some memories and comments from those who have better access to stage productions than I (which includes a fair percentage of the known world). How is this worked out? Did it succeed, or did you have to overlook it? I really am befogged about this matter.

Cheers,

don