Announcements
The Shakespeare Conference: SHK 31.192 Saturday, 8 August 2020
From: Hardy M. Cook <
Date: August 7, 2020 at 2:31 PM EDT
Subject: Ep 120: Mummy, the Poison with Steve Rojcewicz - Cassidy Cash
https://www.cassidycash.com/ep120/
In this episode, I’ll be asking Stephen Rojcewicz about:
- While “mummy” to modern ears refers to a bandaged wrapped corpse, for Shakespeare, this term could apply to a variety of substances and the Oxford English Dictionary explains that among those options, a corpse was not one of them, Stephen, what did the word “mummy” mean for William Shakespeare?
- Many scholars have long thought the handkerchief in Shakespeare’s Othello would be white, spotted with red strawberries. Stephen, according to your research, what color would a handkerchief be after it had been dyed in mummy?
- What kinds of ailments was mummy powder, sometimes called mumia, used to treat in early modern England?
- … and more!
The Shakespeare Conference: SHK 31.189 Wednesday, 5 August 2020
From: David Crystal <
Date: August 5, 2020 at 2:54 PM EDT
Subject: Announcement: What You Will on Saturday, August 8
What You Will is a step away from the Zoom norm, towards a virtual promenade, gifting agency to our audiences. It asks questions of what theatre can be right now, what else the digital arts can offer, and how Shakespeare might resonate around the new world we find ourselves in.
The live-performances of What You Will take place on the 8th August, and the web-version follows on the 15th August. Below, some further details.
We hope you can join us...
What You Will | The Shakespeare Ensemble
“The beating of my own heart was the only sound I heard...”
When: Saturday 8th August, 2020; performances at12pm, 4pm, & 7pm (BST)
Where: live-streamed around the world
Duration: 45mins
How to Book: Free for All or Donate What You Decide
Reserve your free ticket on Eventbrite
Donations welcome via Eventbrite, or via Paypal during the live-stream
*All proceeds will go to support the freelance creatives involved*
Media Pack:
View the Digital Art Exhibition (collages c/o Patrice Moor)
Read or Download the Press Release (available in English, French, German, Greek, Hebrew, Hindi, Japanese, Norwegian, Russian, Portuguese, & Spanish)
Description:
The Shakespeare Ensemble
invites you to
What You Will
A virtual site-specific adventure across the globe
08/08/2020
Run-time 45mins
Every visitor choosing which character to visit with,
What You Will is a step towards a virtual theatrical promenade,
A fresh approach to online performance.
And from August 15th, take a different path through Illyria,
as many times as you like.
This is not a re-telling of the story of Twelfth Night.
This is an exploration of mood, of motif and humanity:
A collage of mind states of the play’s characters,
Shipwrecked in their own lives.
Come & explore a corner of the world-country of Illyria!
Nine players devising their timeline in isolation,
Performing with audience members sitting or walking with them,
Live-streaming to audiences from
Japan, India, Europe, the UK, the USA, & Canada,
Sharing fragments of their life’s story,
Music & song their only guide, in a time out of joint.
Performed by the artists:
Amba Suhasini Katoch Jhala, Renee Rose, Em Thane, Xdzunúm Trejo Boles, Daniel Beaulieu, Colin Hurley, Hiroaki Kurata, & Anirudh Nair
Supported by members of the Shakespeare Ensemble
Curated by Ben Crystal
Featuring:
The music and song of The Askew Sisters
Performed live by HazelAskew.co.uk
And the artwork of @Patrice.Moor (instagram)
Live-Streaming: 08.08.2020
Three performances: 12pm, 4pm, & 7pm (BST)
Tickets: Free for All or Donate What You Decide
*All donations will go to the theatre creatives involved*
Web version live from 15.08.2020
This project is possible thanks to the generosity of www.modstreaming.com & www.digitaldesigncorner.com
For further info & interviews please contact:
Turn the mundane into the extraordinary
And book your free ticket here
From the Shakespeare Ensemble's Curator, Ben Crystal:
The NY Times recently ran the headline, ‘Digital Theatre isn’t Theatre, it’s a way to mourn its absence’.
The What You Will project comes out of weeks and months of meetings and discussions on how an ensemble might collaborate at distance, irrespective of lockdown.
It is built on all we’ve witnessed from the creative output of our sisters and brothers in the industry.
This is a Yes, and… to what has come before, and offers a step towards a virtual theatrical promenade.
Moving beyond the regular Zoom world, it interrogates what a Theatre experience can be, right now. What is theatre when audience and performers can’t breathe the same air, or listen to a shared space? What might a theatrical experience in the digital world look and feel like? How can performers connect with each other in a medium that struggles to transmit atmosphere and empathy? What more can the Digital Arts be? And how does Shakespeare sit in this viral, distant world?
Through the fatigue and the struggle of these months, we’ve also been asking, how does an international ensemble work and play together without financial or climate strain? Should we try to create while the world is raging? Can we not?
As we spend days neglecting our bodies, slumped at screens, What You Will offers a different type of interactive theatrical experience for our audiences, and an open invitation to choose your adventure.
What You Will is a response to 2020, an innovative offer of congregation and interaction, an hour’s thoughtful entertainment for these difficult times, as we all find ourselves together, alone—so much shared, from so far away.
The three showings are Free for All, or Donate What You Decide, and all proceeds will go to support the freelance creatives who made it happen. Come one, come all.
Credits:
Performed by the artists: Em Thane, Renee Rose, Xdzunúm Trejo Boles, Hiroaki Kurata, Amba Suhasini Katoch Jhala, Anirudh Nair, Colin Hurley, & Dan Beaulieu
With artist support from:
Antonia Weir, Ariana Karp, Matthew Bentley, Kavi Bhatt, Dave Coonan, Drew Ernhout, Rob Gander, Sean Garratt, Alasdair Hunter, Will Sutton
Featuring: the music and song of The Askew Sisters performed live by www.HazelAskew.co.uk & the artwork of @Patrice.Moor (instagram)
Additional Music:
Mora Saiyyan (an original rendition by Amrita Lalljee)
PUNJAB (by YOUNG BLOOD (YouTube)
Get em Up (by LVX)
“Orsino” filmed and co-devised by Yashas Chandras, with performances by Prerana and Vansh Sethi
“Maria” filmed with Kavi Bhatt
Character portraits & camera aesthetics – Matt Reznek
Artist portraits – William Zamundu
Map, Poster & Character Postcard wrangle – Antonia Weir
Trailer wrangle – Ariana Karp
Lead player support – Alasdair Hunter
Responsive aesthetics design – Helen Foan
Make-up consultation – Tereza Vacková
Digital Arts consultation – Stacie Lee Bennett-Worth, Tamsin Drury
Music-streaming consultation – Christos Vayenas
Marketing consultation – Christine Penney
Governance support – Jake Kemp, Eric Rasmussen
Storyboard – Dan Beaulieu
Website & admin support – Andrew Codispoti
Production support – Matthew Bentley
With great contribution of time and energy from Dylan Kammerer
Project Curation – Ben Crystal
This project is possible thanks to the generosity of
The Shakespeare Conference: SHK 31.183 Wednesday, 15 July 2020
From: BritGrad 2020 <
Date: July 15, 2020 at 2:59 AM EDT
Subject: 5 DAYS LEFT TO SUBMIT
The Twenty-Second Annual British Shakespeare Conference
(BritGrad)
Monday 14th September – Sunday 20th September, 2020
CALL FOR PAPERS
The deadline for proposals is 13:00 GMT on Monday 20th July 2020 to be submitted to
Proposals can take the following forms:
- We welcome abstracts of 200 words proposing research papers that are up to 20 minutes in length.
- We accept proposals for practical or creative forms of criticism, such as original writing, performance, podcasts, or creative and practical workshops that last no more than 20 minutes in length. Again, the proposal for these contributions should take the form of an abstract of 200 words.
- We accept proposals for panels made up of three papers, each 20 minutes in length. An abstract of 200 words for each paper is required, along with a title and rationale of 100 words for the panel.
- We accept proposals for seminars, which will be given a one-hour time slot. The seminar leader will be responsible for recruiting participants and will submit an abstract of 200 words, along with a list of participants, a seminar title and a rationale of 100 words for the seminar. For more information on seminars, please see our FAQ page.
- For non-seminar events that will last longer than 20 minutes, such as film screenings, play readings and live performances, please submit an abstract of 200 words, along with a title and a rationale of 100 words for the event.
As we explore the possibilities of online conferencing, we are keener than ever to try out new ways of sharing and engaging with the global research community. If you feel you have something suitable that doesn’t fit into the above categories, please get in touch with us. We are always keen to welcome diverse perspectives.
Undergraduate students in their final two years of study are very welcome to attend the festival as auditors (non-speakers).
Online BritGrad Festival 2020
BritGrad is an interdisciplinary conference which provides a friendly and stimulating academic forum in which graduate students can present their research, hear plenaries from world-renowned academics and interact with each other. The conference usually takes place in an active hub for early modern research: The Shakespeare Institute, part of the University of Birmingham, based in Shakespeare’s hometown of Stratford-upon-Avon. Whilst the members of the 2020 committee regret that we are not in a position to welcome you to Stratford-upon-Avon in person this year, we have been working hard to find a way of bringing BritGrad to you.
We are delighted to announce that this year will take the form of an online BritGrad Festival, celebrating the diverse range of scholarship, creativity and pedagogy that contributes to our understanding of early modern drama, performance, culture and more. Graduate students from across the world are welcomed to present on a diverse range of topics including, but not limited to, theatre history, performance studies, textual studies, pedagogy, theatre technology, and early modern culture. In addition to the more traditional presentations, we warmly welcome proposals for seminars, online play readings and performances, film screenings, creative and practical workshops, podcasts and anything else that might contribute to celebrating—and indeed interrogating—what the terms ‘Shakespeare’, ‘early modern’ and ‘Renaissance’ mean to us. Over the course of the week, we will also be offering a series of events involving plenary speakers who are world experts in these fields. We will be announcing our updated plenary speaker programme in the coming weeks.
We have always been committed to continuing BritGrad’s legacy as a truly international and diverse conference for students from a range of backgrounds and disciplines, promoting a positive ethos of collaboration and interdisciplinarity. While an online BritGrad Festival will be very different to the face-to-face conferences held since BritGrad began in 1999, our hope is that the virtual event will allow graduates from all corners of the world to engage in a vibrant community of likeminded scholars, practitioners and creatives, and to celebrate one another’s work—all from the safety and comfort of our own homes and workspaces.
These are challenging times for us all. We stand in solidarity with our fellow graduates from across the globe and will not be charging any fees to participate in BritGrad Festival 2020.
One event which cannot be overlooked is the now legendary BritGrad party which traditionally takes place in Stratford-upon-Avon on the second evening of the conference. We will be hosting an online party during the festival as well as a virtual pre-festival ‘meet and greet’ on the evening of Sunday 13th September (details of both to follow).
For more information, you can find us online here:
Website: www.britgrad.com
Twitter: www.twitter.com/britgrad
Instagram: www.instagram.com/britgrad
Facebook: www.facebook.com/BritGradConference
Abstract Prize:
Every year BritGrad awards a prize for the best abstract, with the winner being awarded £100. We are delighted to confirm that this will continue for BritGrad Festival 2020 and accepted abstracts will be put forward for the award.
Pricing and registration:
It is free to participate in BritGrad Festival 2020. Presenters and event organisers will be notified of acceptance in time to register by Monday 17th August. We strongly encourage early registration for auditors to secure a place.
Contact details:
For abstract submissions, please email our registrar, Laryssa Schoeck, at
For general enquiries, please contact our secretary, Saraya Haddad, at
For more specific enquiries, please contact our co-chairs, Jodie Smith, at
The Shakespeare Conference: SHK 31.180 Sunday, 12 July 2020
From: Darren Freebury-Jones <
Date: July 10, 2020 at 6:17 AM EDT
Subject: Authorship Studies in Early Modern Drama and Literature
Dear SHAKSPERians,
I am delighted to announce that the special issue of American Notes and Queries, ‘Authorship Studies in Early Modern Drama and Literature’, for which I was guest editor, is now available: https://www.tandfonline.com/toc/vanq20/33/2-3?nav=tocList
The issue features a wide range of internationally renowned scholars in Shakespeare, textual, and early modern authorship studies, including several contributors to this forum. The list of contents is below:
INTRODUCTION
DARREN FREEBURY-JONES
“When a man hath a familiar style”: An Introduction to Authorship Studies
in Early Modern Drama and Literature
ARTICLES
PERVEZ RIZVI
Playbook Titles as Evidence of Copy Text Type
GERALD E. DOWNS
Philaster and Shorthand
IAN DE JONG AND ERIC RASMUSSEN
Non-English Words in The Spanish Tragedy
PERVEZ RIZVI
Speech Lengths in Early Modern Plays
MACDONALD P. JACKSON
Authorship Attribution and The New Oxford Shakespeare: Some Facts and Misconceptions
THOMAS MERRIAM
Phrasal Criteria for Authorship, with Consideration of Negative Checks
DARREN FREEBURY-JONES
Unsound Deductions in Early Modern Attribution: The Case of Thomas Watson
BRIAN VICKERS
Kyd, Edward III, and ‘The Shock of the New’
ALBERT C. YANG
Validating the Enlarged Kyd Canon: A New Approach
DAVID AUERBACH
A Critique of Giuliano Pascucci’s Attribution Methods
ROS BARBER
Function Word Adjacency Networks and Early Modern Plays
MARTIN MUELLER
Who Wrote What: Is it Time for a Blind Experiment in Early Modern Drama?
JOSEPH RUDMAN
Aphra Behn’s Dramatic Canon: Stylistics, Stylochronometry, and Non-Traditional Authorship Attribution
JOSEPH F. STEPHENSON AND DARREN FREEBURY-JONES
A New Source for Two Aphra Behn Plays: The Dutch Lady, a Restoration Comedy in Manuscript
BOOK REVIEWS
RICHARD M. WAUGAMAN
Kevin Gilvary, Fictional Lives of Shakespeare, New York: Routledge, 2018.
DAVID AUERBACH
Gary Taylor and Gabriel Egan, eds., The New Oxford Shakespeare: Authorship Companion, Oxford: Oxford University Press, 2017.
The Shakespeare Conference: SHK 31.178 Thursday, 2 July 2020
From: Stephanie Chamberlain <
Date: July 2, 2020 at 2:22 PM EDT
Subject: SHAKSPER RoundTable Update
Dear SHAKSPEReans,
I have received a number of excellent suggestions for possible Roundtable discussions. Here are the suggestions that I have received thus far:
- Character Studies – Is this still something that we do and value?
- Actors and Shakespeare’s Characters
- 21st Century Transformation of Characters on Stages and in Criticism
- Teaching Character Today
- Classroom Approaches and Rehearsal-Room Approaches to Character
- Transformation of Characters in Film
- Textual Variants Relating to Character
- Stage versus Page
- Is Shakespeare racist?
- Stenographic Reporting of Performance
- Digital Humanities
From these suggestions, I have decided to start with “Character Studies – Is this still something that we do and value?”, a topic Professor Richard Strier of the University of Chicago proposed. Professor John Drakakis of the University of Stirling will serve as guest moderator for this RoundTable.
By early next week, I will be posting a statement as well as reading list from Professor Drakakis which will get us started on this RoundTable discussion. In the meantime, here are some procedures that will govern our RoundTable discussions, which are guidelines Hardy developed back in 2006:
- RoundTable discussions will be distinguished from regular SHAKSPER discussions by the subject line of each digest. The first one will read SHAKSPER RoundTable: Character Studies.
- RoundTable discussions will have a guest moderator who will initiate discussions by suggesting parameters of the discussions, who will monitor on-going contributions, who will act as a meta-voice commenting on the threads as they develop, who will keep the discussion focused, and who will conclude the RoundTable when it has reached its useful end.
- After a RoundTable concludes, the moderator will provide a summary of the discussions, which will be stored on the SHAKSPER website.
- RoundTable discussions will be conducted on a more formal level than ordinary list discussions. Participants will be expected to reflect on their offerings before submitting them. Needless to say, participants will be required to supply the research necessary to support their positions.
- Participants are expected to commit to a RoundTable. Questions posed or challenges made to another participant’s position must be carefully deliberated and appropriately addressed. Participants should not, in other words, drop a thought and then disappear.
- Only one RoundTable topic will be discussed at a time.
- The guest moderator will determine when to conclude the RoundTable.
- All RoundTable submissions will be sent to me at
This email address is being protected from spambots. You need JavaScript enabled to view it. . I will forward the submissions to the guest moderator, who will return them to me in a digest at her convenience. I will provide final formatting and distribute RoundTable digests to SHAKSPER members.
I am very much looking forward to resuming SHAKSPER RoundTable discussions.
Stephanie
The Shakespeare Conference: SHK 31.177 Monday, 29 June 2020
From: BritGrad 2020 <
Date: June 29, 2020 at 2:59 AM EDT
Subject: REOPENED BritGrad 2020 - Call for Papers!
The Twenty-Second Annual British Shakespeare Conference
(BritGrad)
Monday 14th September – Sunday 20th September, 2020
Online BritGrad Festival 2020
BritGrad is an interdisciplinary conference which provides a friendly and stimulating academic forum in which graduate students can present their research, hear plenaries from world-renowned academics and interact with each other. The conference usually takes place in an active hub for early modern research: The Shakespeare Institute, part of the University of Birmingham, based in Shakespeare’s hometown of Stratford-upon-Avon. Whilst the members of the 2020 committee regret that we are not in a position to welcome you to Stratford-upon-Avon in person this year, we have been working hard to find a way of bringing BritGrad to you.
We are delighted to announce that this year will take the form of an online BritGrad Festival, celebrating the diverse range of scholarship, creativity and pedagogy that contributes to our understanding of early modern drama, performance, culture and more. Graduate students from across the world are welcomed to present on a diverse range of topics including, but not limited to, theatre history, performance studies, textual studies, pedagogy, theatre technology, and early modern culture. In addition to the more traditional presentations, we warmly welcome proposals for seminars, online play readings and performances, film screenings, creative and practical workshops, podcasts and anything else that might contribute to celebrating—and indeed interrogating—what the terms ‘Shakespeare’, ‘early modern’ and ‘Renaissance’ mean to us. Over the course of the week, we will also be offering a series of events involving plenary speakers who are world experts in these fields. We will be announcing our updated plenary speaker programme in the coming weeks.
We have always been committed to continuing BritGrad’s legacy as a truly international and diverse conference for students from a range of backgrounds and disciplines, promoting a positive ethos of collaboration and interdisciplinarity. While an online BritGrad Festival will be very different to the face-to-face conferences held since BritGrad began in 1999, our hope is that the virtual event will allow graduates from all corners of the world to engage in a vibrant community of likeminded scholars, practitioners and creatives, and to celebrate one another’s work—all from the safety and comfort of our own homes and workspaces.
These are challenging times for us all. We stand in solidarity with our fellow graduates from across the globe and will not be charging any fees to participate in BritGrad Festival 2020.
One event which cannot be overlooked is the now legendary BritGrad party which traditionally takes place in Stratford-upon-Avon on the second evening of the conference. We will be hosting an online party during the festival as well as a virtual pre-festival ‘meet and greet’ on the evening of Sunday 13th September (details of both to follow).
For more information, you can find us online here:
Website: www.britgrad.com
Twitter: www.twitter.com/britgrad
Instagram: www.instagram.com/britgrad
Facebook: www.facebook.com/BritGradConference
Abstract Prize:
Every year BritGrad awards a prize for the best abstract, with the winner being awarded £100. We are delighted to confirm that this will continue for BritGrad Festival 2020 and accepted abstracts will be put forward for the award.
Pricing and registration:
It is free to participate in BritGrad Festival 2020. Presenters and event organisers will be notified of acceptance in time to register by Monday 17th August. We strongly encourage early registration for auditors to secure a place.
Contact details:
For abstract submissions, please email our registrar, Laryssa Schoeck, at
For general enquiries, please contact our secretary, Saraya Haddad, at
For more specific enquiries, please contact our co-chairs, Jodie Smith, at
The Shakespeare Conference: SHK 31.171 Friday, 26 June 2020
From: Sally-Beth MacLean <
Date: June 25, 2020 at 12:01 PM EDT
Subject: REED Notice
The Records of Early English Drama is delighted to announce the open access publication of its latest edition in the REED series. The remarkable collection of medieval and renaissance dramatic records for the county of Hampshire, edited by Peter Greenfield and the late Jane Cowling, is now available on REED Online https://ereed.library.utoronto.ca/
The Hampshire records span 4 centuries, ranging from the late 10th century to the start of the Civil War in 1642. Highlights of the collection include records of the Quem quaeritis at Winchester, the boy bishop tradition at St Swithun’s Priory, a legal dispute over a 1409 St. Agnes play, and a wealth of evidence from Southampton, Winchester College and the city of Winchester, as well as from private households, other towns and monasteries, for touring minstrels, players and other entertainers. Seasonal festivities and aristocratic entertainments, including the 1591 visit of Queen Elizabeth to the Earl of Hertford’s estate at Elvetham, are also featured from across the county and including the Isle of Wight. All locations are linked to the GIS provincial map of England, which now defines, for the first time, pre- and post-Reformation diocesan boundaries.
Sally-Beth (MacLean)
REED Director of Research/General Editor
The Shakespeare Conference: SHK 31.169 Wednesday, 24 June 2020
From: Sarah Enloe <
Date: June 23, 2020 at 5:00 PM EDT
Subject: ASC #SHKCAMP Teens – Deadline Extension
American Shakespeare Center's camp for 12-18-year-olds is still accepting applications! Send us your children, grandchildren, nieces, nephews, neighbors, what have you!
They will engage deeply with Shakespeare, owning a character through the exploration of a cue script—using scansion, rhetorical analysis, audience engagement, and much more. They will work in a team with 12 other students and engage with the entire camp on a regular basis. Attend rehearsals at the Blackfriars, be in on opening nights, and much more. https://americanshakespearecenter.com/shxcamp/
Sarah Enloe
Director of Education
American Shakespeare Center
The Shakespeare Conference: SHK 31.164 Sunday, 21 June 2020
From: Colleen Kennedy <
Date: June 17, 2020 at 2:19 PM EDT
Subject: Shakespeare Hour LIVE at Shakespeare Theatre Company
I would like to share the press release for Shakespeare Hour LIVE! at Shakespeare Theatre Company (STC) in Washington, D.C.
Each Wednesday evening at 7:30 EST, STC Artistic Director Simon Godwin and Resident Dramaturg Drew Lichtenberg discuss Shakespeare’s works with scholars such as Stephen Greenblatt, Jonathan Bate, and James Shapiro; actors—Liev Shreiber, F. Murray Abraham, Stacy Keach, Sam Waterstone, and more; and directors—TFANA's Jeffrey Horowitz, Whitney White, and more.
The episodes are free for STC members and subscribers; $10 for non-members.
For more information, to RSVP, or to view previous episodes, please visit: https://www.shakespearetheatre.org/events/the-shakespeare-hour/
Thank you,
Colleen Kennedy
The Shakespeare Conference: SHK 31.163 Wednesday, 17 June 2020
From: Michelle Assay <
Date: June 17, 2020 at 5:26 AM EDT
Subject: Call for Papers: Shakespeare and Music: New Interdisciplinary Perspectives
Dear Colleagues and Friends
Call for Papers
Shakespeare and Music: New Interdisciplinary Perspectives
10–11 December 2020, Universities of Manchester and Huddersfield
Deadline for proposals: 15 September 2020.
‘When were you wont to be so full of songs, sirrah?’ (King Lear, I/4)
We are delighted to announce the inaugural conference of the ‘Shakespeare and Music’ Study Group, on Thursday 10 December 2020 at the University of Manchester and Friday 11 December at the University of Huddersfield.
The ‘Shakespeare and Music’ group was founded in affiliation with the Royal Musical Association to provide a distinct forum for researchers and practitioners across disciplines and cultures. In line with the mission of the group, the conference aims to promote and foster research, collaboration and exchange of ideas in two complementary aspects: music in Shakespeare’s time, including various aspects of music in Shakespeare’s works; and music inspired by Shakespeare’s works, whether composed to Shakespearean themes or directly for Shakespeare plays.
In lieu of a keynote address, the conference will feature a world premiere performance of John Casken’s The Shackled King, a dramatic cantata to the composer’s own libretto derived from Shakespeare’s King Lear, with Sir John Tomlinson CBE in the title role and Rozanna Madylus (mezzo-soprano) as Cordelia, Goneril, Regan and The Fool. The performance will be repeated in Huddersfield.
The conference also strives to provide post-graduate and early career colleagues with a platform for cross-disciplinary exchanges. To this end John Casken and John Tomlinson will work with students in post-concert composition and performance workshops, running in parallel with the academic sessions of the conference.
Apart from at least one confirmed session on ‘Shakespeare, Music and Gender’, other possible threads for papers (20 minutes) and lecture-recitals (30 minutes) include but are not limited to:
- Music imagery and imagination in Shakespeare
- Original melodies for Shakespeare songs and their afterlives
- Shakespeare and opera
- Incidental music for Shakespeare productions past and present
- Analysis and contextualising of individual Shakespeare-inspired works
- Setting Shakespeare’s words to music
- Shakespeare in instrumental music
- Shakespeare and film music
- The role of Shakespeare in the musical imagination and creative output of composers
- Shakespeare and musical nationalism
- Shakespeare in non-classical music (jazz, musicals, pop)
- Performing Shakespeare’s music
- The afterlife of Shakespeare-inspired music
Please send an abstract of no more than 300 words accompanied by a short (150-word) biographical note to Michelle Assay
For more information on Shakespeare and Music Study Group see: https://shakespeareandmusic.wordpress.com/
Please note: We are aware of the current uncertainties and in the event that public events are still not possible in December or that delegates are unable to travel we shall make the necessary arrangements for virtual delivery and/or streaming of the conference and its associated events.
The Shakespeare Conference: SHK 31.162 Monday, 15 June 2020
From: J Alan Somerset <
Date: June 13, 2020 at 2:07 PM EDT
Subject: Announcement
I am very pleased to announce the publication of my website, Performers without Patrons. This site extends the scope of the REED website, Patrons and Performances, by presenting an index to the over 3700 records of performers on tour before 1642, for whom no patron was recorded. These represent a little over a third of the total records of performers outside London in the period. Over 935 of these performers without patrons were professional touring players; their patrons’ names were often omitted simply by accident. Beyond professional actors, these records bring to light a multitude of performer types—musicians, minstrels, waits, acrobats, freaks, bearwards, lion-tamers, camel-keepers and many others. These records of performers without patrons allow us more fully to understand the contexts from which grew the drama of Shakespeare and his contemporaries. The URL is: https://playerswithoutpatrons.ca
With thanks for your consideration,
Cheers!
Alan Somerset