Subscribe to Our Feeds

Current Postings RSS

Announcements RSS

Home ::

TLS: British Drama and Shakespeare and the Versification

The Shakespeare Conference: SHK 25.501  Wednesday, 17 December 2014


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

Date:         November 30, 2014 at 9:25:20 AM EST

Subject:    TLS: British Drama and Shakespeare and the Versification


Katherine Duncan-Jones 


[ . . . ] Taking up no space at all – for I peruse it in libraries – is Volume IV of British Drama 1533–1642 (Oxford University Press), edited by Martin Wiggins in association with Catherine Richardson. Covering 1598–1602, it’s informative across the range of plays and entertainments generated during the closing years of Elizabeth I. The extreme complexities of the three-text Hamlet are methodically set out in ten pages. Even plays of which no text survives can leave fascinating traces. An Admiral’s Men comedy entitled As Merry As May Be may be the last play the Queen saw, barely a month before her death. 



Brian Vickers 


Two important scholarly works that will be read for years to come are Marina Tarlinskaya, Shakespeare and the Versification of English Drama, 1561–1642 (Ashgate), which uses quantitative prosody to trace the evolution of verse from Gorboduc to the closing of the theatres, and Quentin Skinner, Forensic Shakespeare (Oxford University Press), a brilliant study of the teachings of classical legal rhetoric as used and misused by Shakespeare’s speakers. 


[ . . .]

36th Annual Medieval and Renaissance Forum

The Shakespeare Conference: SHK 25.500  Wednesday, 17 December 2014


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

Date:         December 16, 2014 at 10:42:51 PM EST

Subject:    36th Annual Medieval and Renaissance Forum


36th Annual Medieval and Renaissance Forum 

Keene State College 

Keene, NH, USA

Friday and Saturday April 24-25, 2015


Call for Papers and Sessions

“Representation, Adaptation, Recollection”

Keynote speaker: Coppélia Kahn, Professor of English, Brown University  


We are delighted to announce that the 36th Medieval and Renaissance Forum will take place at Keene State College in Keene, New Hampshire.  This year’s keynote speaker is Coppélia Kahn, Professor of English at Brown University and a pioneer in modern Shakespeare studies.  In her 1981 book Man's Estate: Masculine Identity in Shakespeare, Dr. Kahn was among the first to introduce the question of gender into Shakespeare studies. She is also the author of Roman Shakespeare: Warriors, Wounds, and Women (1997), and the co-editor of Making A Difference: Feminist Literary Criticism (1985). Her current research concerns the range of social practices that make up the commemoration of Shakespeare, perpetuating him as an iconic figure in social memory.


We welcome abstracts (one page or less) or panel proposals that address questions of representation of the self and the Other in the medieval and Early Modern periods or that discuss how the world of the Middle Ages and the Renaissance is re-imagined for the present:


How did medieval and Early Modern individuals understand themselves and their world?  

How did medieval and Early Modern Europeans perceive and represent those living beyond the bounds of Europe? 

How did medieval and Early Modern individuals and groups represent their past? 

How are the Middle Ages and the Renaissance viewed in the modern period?

What function do the medieval and the Early Modern play in contemporary popular culture? 


Papers need not be confined to these themes but may cover other aspects of medieval and Renaissance life, literature, languages, art, philosophy, theology, history, and music. 


Students, faculty, and independent scholars are welcome. Please indicate your status (undergraduate, graduate, or faculty), affiliation (if relevant), and full contact information on your proposal. 

Undergraduate sessions are welcome but require faculty sponsorship.  


Please submit abstracts, audio/visual needs, and full contact information to Dr. Meriem Pagès, Director. For more information please e-mail This e-mail address is being protected from spambots. You need JavaScript enabled to view it .


Abstract deadline: Monday January 15, 2015


Presenters and early registration: March 15, 2015


We look forward to greeting returning and first-time participants to Keene in April!


Meriem Pagès

Forum Director

Keene State College

Keene NH 03435-1402

2015 Shakespearean Theatre Conference Second CFP

The Shakespeare Conference: SHK 25.499  Tuesday, 16 December 2014


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

Date:         Friday, December 12, 2014 at 11:26 AM

Subject:    2015 Shakespearean Theatre Conference Second CFP


Stratford Festival

University of Waterloo


Second Call for Papers 

2015 Shakespearean Theatre Conference:

“Language in Text and Performance”


We invite paper, session, and workshop proposals for the inaugural Shakespearean Theatre Conference, to be held June 18-20, 2015, in Stratford, Ontario. All approaches to language in Tudor-Stuart drama are welcome, including those based in the traditional arts of language (grammar, rhetoric, and logic), those based in contemporary theories of language and communication (e.g. public sphere theory, speech pragmatics, speech act theory), and those based in performance (verse speaking, original practices, etc.)


Plenary speakers:        

Joel Altman (University of California, Berkeley)

Antoni Cimolino (Artistic Director, Stratford Festival) 

Russell Jackson (University of Birmingham) 

Lynne Magnusson (University of Toronto)


Plenary panel: 

Lynn Enterline (Vanderbilt University)

Michael MacDonald (University of Waterloo)

Russ McDonald (Goldsmiths, University of London)


The conference is a joint venture of the University of Waterloo and the Stratford Festival, and will bring together scholars and practitioners to talk about how performance influences scholarship and vice versa. Paper sessions will be held at the University of Waterloo’s Stratford campus, with plays and special events hosted by the Stratford Festival. Conference goers will have the opportunity to attend performances of Hamlet, Pericles, The Taming of the Shrew, and She Stoops to Conquer.


For updated information, visit


By January 31, 2015, please send proposals to  This e-mail address is being protected from spambots. You need JavaScript enabled to view it



Andrea Gammon

Director of Education

Stratford Festival     

Kenneth J.E. Graham

Department of English

University of Waterloo

Alysia Kolentsis

Department of English

St. Jerome's University

Shakespeare is to Otway as Window is to Balcony

The Shakespeare Conference: SHK 25.498  Thursday, 11 December 2014


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

Date:         December 9, 2014 at 5:05:58 PM EST

Subject:    Shakespeare is to Otway as Window is to Balcony


Dear SHAKESPER colleagues,


Early in 2014, I posted a query to this list about the origins of the association of “the balcony” with Romeo and Juliet.  With thanks again to the various folks who gave me leads, on- and off-list, I’m delighted to say that The Atlantic published my piece tracing the linguistic and theater history around the balcony.  You can read it here:  (The Daily Mail just cited it in a round-up of articles online, although I leave you to decide whether that is a compliment to a scholar . . .)


This was not the first time I wrote a piece for The Atlantic, as part of an effort to share scholarly research with a broader audience.  This time, alas, the response involved many comments that indicated the people posting couldn’t grasp the basic argument of the article:  that even the most canonical authors were not ever popular (e.g. there were decades when Otway’s “Wherefore art thou Marius?” was far more commonly known than Shakespeare’s “Wherefore art though Romeo?”), and that our perceptions of canonical texts are shaped by many subsequent cultural factors.  I don’t mind people disagreeing with any argument I put forth if they engage the evidence, but that wasn’t what was happening.  Chalk this up to the fact that we live in an age that increasingly confuses opinion with expertise, and anything you can read on the Wikipedia with historical fact.  


Perhaps some of you will find the article and the comments a “teachable moment” to share with your students.  In the very least, it taught me that even the editor at The Atlantic didn’t know what “wherefore” means, as she used it incorrectly in the original title of the piece, which was posted without my involvement.


-Lois Leveen

Ethan McSweeny’s “Tempest”

The Shakespeare Conference: SHK 25.497  Thursday, 11 December 2014


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

Date:         December 10, 2014 at 8:09:53 AM EST

Subject:    Ethan McSweeny’s “Tempest” 


From The Washington Post


Ethan McSweeny’s “Tempest” casts a bright, uplifting spell


Ethan McSweeny’s “Tempest” casts a bright, uplifting spell

By Peter Marks


Sleekly assembled and easy on the eyes, Shakespeare Theatre Company’s new “The Tempest” is a highly enjoyable rendering of Shakespeare’s late romance and one of the warmer productions to brighten the confines of Sidney Harman Hall.


Director Ethan McSweeny, whose strength as a classical imagist has been on display in the past in works such as Aeschylus’s “The Persians,” here offers a wise and alluring take on Shakespeare, a “Tempest” of white-sand beaches under a haze-shrouded sun, of gods as monumental puppets manipulated by billowy sprites.


The sprite-in-chief, Ariel (Sofia Jean Gomez), on this occasion is an airborne spirit whose flight time proves far more exhilarating than the puddle-jumping executed on NBC’s recent live “Peter Pan.” The engaging Gomez’s liftoffs occur courtesy of ZFX’s flying ­effects. They send her up into the rafters and clear across the stage on an amusingly thick rope — the purposefully visible tether binding her inexorably to Prospero (Geraint Wyn Davies), lord of the magic-infused isle.


It’s Davies’s spirit, however, that sets the benevolent tone of this “Tempest,” which begins with an impressive storm, washing Prospero’s enemies onto his shores, and moves with considerable grace and speed toward a climax of comeuppance and reconciliation. Through Davies’s ­assured and beautifully declaimed performance, an audience understands fully that Prospero receives an education here, too, in compassion and restraint. For just as his overreaching brother Antonio (Gregory Linington) stole Prospero’s Milan dukedom, so has Prospero in exile turned usurper, subjugating the island’s ethereal Ariel and brawny ­Caliban (Clifton Duncan).


Most of the narrative thrust of “The Tempest” is comic: In the love story of Prospero’s daughter Miranda (Rachel Mewbron) and Ferdinand (Avery Glymph), one of the shipwrecked party, resides a tender romantic comedy; in the tale of Caliban, enlisting the silly Trinculo (Liam Craig) and inebriate Stephano (Dave Quay) in a plot to overthrow Prospero, the clowning escalates to broad ­oafishness. It’s only in the subplot of the retinue of Antonio and the King of Naples (C. David Johnson), on whom all-powerful Prospero seems bent on revenge, that Shakespeare charts a potentially destructive course. But even that thread feels only a halfhearted stab at darker intent; the playwright’s own magic is marshaled for a more magnanimous end.


In his judiciously trimmed version, McSweeny treats this gentle leitmotif as his inspiration, one that’s shared by the entire design team. Set designer Lee Savage spreads across the Harman stage a hillock of sand as pristine as one would find on the Caribbean beach of one’s fantasies (the accent of Duncan’s excellent Caliban suggesting as much). Jennifer Moeller’s voluminous oyster-colored robe for Prospero wittily establishes him as a majestic beachcomber, and Christopher Akerlind’s subtle lighting scheme gives off a series of softly becoming, occasionally multi-hued, glows.


[ . . . ]

<< Start < Prev 1 2 3 4 5 6 7 8 9 Next > End >>

Page 2 of 9

©2011 Hardy Cook. All rights reserved.