Actors From The London Stage

The Shakespeare Conference: SHK 25.457  Wednesday, 26 November 2014


From:        Actors From The London Stage <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         October 3, 2014 at 7:35:33 AM EDT

Subject:    Actors From The London Stage


Bring Actors From The London Stage to your Campus

Booking Window NOW OPEN for Fall 2015 and Spring 2016 Tours


Five professional British actors
Five days of workshops and performances
One week of Shakespeare your students will never forget


Now Booking for Fall 2015 and Spring 2016


Now in its 40th year, Actors From The London Stage continues to inspire students with the power of Shakespeare. An AFTLS residency brings the Bard to life on the stage and in the classroom. Our British cast—veterans of some of the most respected theatre companies in the world—will tour campuses across the United States with their innovative five-hand staging of A Midsummer Night’s Dream.

Residencies are available in Oct/Nov of 2015 and Jan/Feb/Mar of 2016.


Availability is limited; This email address is being protected from spambots. You need JavaScript enabled to view it. to request dates, rates, and details.


See AFTLS in action and flip through our brochure at the AFTLS WEBSITE.


Founded in 1975 by Homer “Murph” Swander and world-renowned actor Sir Patrick Stewart, AFTLS is an actor-driven tour de force. Our actors hail from such prestigious companies as Shakespeare’s Globe, the National Theatre of Great Britain, and the Royal Shakespeare Company. Uniquely, AFTLS actors not only perform a full-length Shakespearean play, but also visit dozens of classrooms during their weeklong residency.


In addition to enlivening theatre and English departments, the AFTLS experience can be tailored to enrich coursework across the academic spectrum. Our dynamic, hands-on approach will heighten each student's intellectual curiosity regardless of discipline. Whether coaching accounting students on successful presentation skills, or instructing law students in the art of persuasion, these workshops promote a campus-wide dialogue inspired by the works of William Shakespeare.


City of Łódź Commemorates Ira Aldridge with a Plaque

The Shakespeare Conference: SHK 25.451  Monday, 24 November 2014


From:        Krystyna Kujawinska-Courtney <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         November 16, 2014 at 5:26:26 PM EST

Subject:    City of Łódź Commemorates Ira Aldridge with a Plaque


On November 10, a plaque was unveiled commemorating the connections of Ira Aldridge (1807-1867), first black Shakespearian tragedian with the city of Łódź. The ceremony was attended by numerous representatives of the Łódź world of politics, culture and science. The plaque was placed on the front of the house located at Piotrkowska Street no. 175, the former hotel and Paradyz theatre,  where the actor died unexpectedly during the rehearsal of Shakespeare’s Othello, on August 7, 1867. He was buried in the Lutheran cemetery (Cmentarz Ewangelicko-Augsburski) at Ogrodowa Street. 


Ira Aldridge was born in New York, in 1807. In 1825 he emigrated to Great Britain, where he performed in the London theatres as well as in the provincial venues. He began his European tours in 1852. Not only did he play the roles of black Shakespearian protagonists as Othello and Aaron, but also white-face characters, for instance Macbeth, Richard III, King Lear or Shylock. And it was precisely these performances in countries throughout Europe (i.e. Belgium, Germany, Sweden, Russia, the Czech Republic, France, Turkey, Ukraine, Denmark, Hungary, the Netherlands, Serbia and Poland, I give here the current names of these countries) that brought him international fame and recognition. Among other things, Aldridge introduced Shakespeare to Serbian culture. In 1858 he was cast as Richard III, Othello and Macbeth in Novi Sad, the centre of Vojvodina, then part of the Austro-Hungarian Empire. His visit accelerated, as some specialists maintain, the construction of the National Theatre in Belgrade. In 1858, when he acted as Richard III in Kraków, Polish audience had the first opportunity to see that play in the theatre. His interpretation of the tragedy of Othello in Polish theatres, which he visited seven times, contributed to the emergence of the first Polish translation of the play. It was first staged in Warsaw, in 1862, with Aldridge in the title role. He was also the first actor to present the Shakespeare repertoire before the audience of a theatre in Constantinople (1866).


During his tours Aldridge performed in big metropolitan cities and in small towns, wherever the theatres had enough room and the right conditions to accommodate the crowds that wanted to see him. And he was successful everywhere he went. In recognition of his achievements, Aldridge received many national honours and awards. For example, the king of Prussia bestowed on him the Gold Medal of the First Class for Arts and Science – besides Aldridge the recipients included only baron Von Humboldt, German philosopher and scientist, Luigi Gasparo Sponti, Italian composer and Franz Liszt, Hungarian pianist and composer. In Austria, he received the Grand Cross of the Order of Leopold; in Switzerland, he was given the White Cross of Merit. He was made a honorary member of many scientific and cultural organizations, among them The Imperial and Arch-ducal Institution of ‘Our Lady of the Manger’ in Pest (Hungary), The Royal Czech Conservatory in Prague, Imperial Academy of Arts in St. Petersburg (Russia).  He was also given the title of the Honorary Commission of Captain in the Republican Army of Haiti for the promotion of skills and talent of his race. 


The theatre records and criticism, which recognized and appreciated Aldridge’s professional achievements in his lifetime, mainly come from the European countries visited by him during his performances. Gazeta Wielkiego Xiestwa Poznańskiego  of January 23, 1853 called him the ‘first magnitude star’. He was, in the opinion of the reporter for the Kurier Warszawski newspaper, “greeted by a crowded houses everywhere, and princes and [ordinary] people were eager to see him, while honours, orders and medals were showered upon him.” Richard Wagner (1813-1883) observed that during his performances Aldridge would stir uncontrollable enthusiasm, Theophile Gautier (1811-1872) described his unmatched success in his popular Voyage en Russie published in 1896, and Taras Shevchenko drew Aldridge’s  portrait as a token of their friendship.


The list of those who knew and remembered Aldridge, often enthusiastically, includes not only his colleagues and professional acquaintances such as Ellen Tree, Edmund Keene, Charles Keene, J. Philip Kemble, Madge Kendall. Among people, who stayed in touch with him and took a special interest in following his career were also representatives of the literary and artistic world; among them Sir Walter Scott (1771-1831), Tyrone Powers (1791-1841), Sir Edward Bulwer-Lytton (1803-1837), Hans Christian Andersen (1805-1875), baron von Humboldt (1779-1859),  Franz Liszt (1811-1886), Charles Dickens (1812-1870), Jenny Lind (1820-1887) and Leo Tolstoy (1828-1910). 


The Aldridge family memorabilia include a number of photo albums filled with pictures sent to him after his visits to Russia, Mongolia and the Ukraine with expressions of gratitude for his acting. Students at Kazan University bestowed upon him a special document written in Latin bearing an enormous wax seal and ribbons, in which they expressed their gratitude for his performance. In St. Petersburg, the enthusiastic audience unharnessed the horses after his performance and dragged the carriage to the hotel. 


The connection between Lódź and this great Shakespeare artist was mainly limited to registering his death and funeral that lasted over ten hours. The Lodzer Zeitung (August 10, 1867) reporter wrote that the city authorities of that time rose to the occasion, generously providing financial resources for its organization. A few hours before the funeral service, countless crowds of local residents were already gathered in front of the theatre. The funeral procession was led by a pastor and a parish cantor of St. Matthew’s. The cantor’s responsibilities included the coordination of singing and the supervision of the appropriate ranking of school youth that belonged to a Musical Society of the local Lutheran parish. Young people sang songs, selected especially for the occasion. They were assisted by joined choirs and singing ensembles from the entire city, among them those that worked at Łódź factories.The orchestra of the Russian dragoon regimen that accompanied the singing, marched right behind them. Members of the Rife Society and  the Theatrical Society proceeded with dignity behind the orchestra, carrying the red and velvet cushions, which held state awards conferred on Aldridge during his lifetime, as well as a huge laurel wreath. 


The hearse on which the corpse was placed was pulled by four horses covered with a pall. Members of the Rife Society dressed in ceremonial attire, with rifles on their shoulders and their banner, formed a natural protection for the hearse. As the first of the mourners, right behind the hearse, walked “in a deep regret August Hentschel, the theatre owner, who was accompanied by the Mayor, [. . .] and another person,” the latter being, unfortunately, unidentified. Next, twelve Łódź guilds paid their last respects to Aldridge. Their decorative banners  were carried by respective delegations. In that order, right behind them, was the closed carriage, in which the bereaved widow was riding. Behind the carriage proceeded others. There were so many of them that the reporter was unable to specify the names of their owners. At the end of the funeral procession were countless crowds of Łódź residents.


To the sound of the music, singing and chiming of the church bells, the whole intricately organized funeral procession marched slowly along Piotrkowska Street, the main street of the town, towards the cemetery. Since there was no time to prepare a suitable place at the cemetery, manufacturer Charles Frederick Moes, himself of German origin, agreed to place Aldridge’s body in his newly erected tomb. Over Aldridge’s grave, the pastor delivered a speech, in which he paid his respects to the deceased, emphasizing the tragedian’s virtues and devotion to God. He drew attention of those present to “the fragility of human life and fate, which often casts people far away from their place of birth, where they have to rest for ever, away from the loved ones and friends.” Then the singers took up a dirge, and the pastor consecrated the corpse. A laurel wreath was mounted on the coffin and it was laid in the tomb; the sounds of trumpets could be heard, played by almost all professional and amateur trumpeters of the town. The tomb was showered with flowers and wreaths. 


Thus, in 1867, according to the Warsaw reporter, our multicultural and multireligious Łódź paid her last respects to the great artist, taking on the responsibility of caring for his grave. The tomb was recently restored in 2001 – the money was collected at the Łódź cemetery during All Saints’ Day and All Souls’ Day – and it had always remained under the special protection of the inhabitants of the city. Attempting to honour the memory of this great artist, over the past few years American schools, theatres, and Aldridge’s devotees have been  appealing to the current authorities of Łódź, initially to place his name on the Walk of Fame in Piotrkowska Street,  however, this turned out to be impossible due to formal reasons. Since 2010, I have corresponded with Ms. Barbara Johnson Williams, from Memphis, conducting on her behalf the negotiations with the Museum of Cinematography, which, with time, agreed to help with posting the commemorative plate (Ms. Williams visited our town four times during this process). And so, as of October 10, 2014 we have a plaque, designed by Professor Marian Konieczny, a famous Polish artist, which reminds the residents of Łódź not only about this prominent actor, but also about the location of the first stationary theatre in the city. The speakers at the ceremony of the unveiling of the plaque, led by Ms. Elżbieta Czarnecka, curator of the Museum of Cinematography, included Ms. Barbara Johnson Williams, Mr. Mieczyslaw Kuźmicki, director of the Museum of Cinematography, Senator Ryszard Bonisławski, Professor Zofia Wysokińska, Pro-Rector of UŁ International Cooperation as well as myself. The laudatory speech of Professor Anna Kuligowska-Korzeniowska was read by Łódź actors: Jarosław Wójcik and Gracjan Kielanowski. The spectators, who gathered, listened to selected jazz standards performed by alumni of Wyższa Szkoła Muzyczna (Higher School of Music) from the class of Professor Jacek Deląg. I wholeheartedly invite you to watch the recordings of the event on YOUTUBE, made by Professor Sławomir Kalwinek of the National Higher School of Film, Television and Theatre in Łódź.


Book Announcement: Juliet's Nurse: Talk/Book Announcement

The Shakespeare Conference: SHK 25.449  Monday, 24 November 2014


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

Date:         October 18, 2014 at 10:07:00 PM EDT

Subject:    Book Announcement: Juliet's Nurse:  Talk/Book Announcement


Dear colleagues,


I’m delighted to announce that Juliet’s Nurse has just been published by Simon & Schuster in the US, UK, and Australia, and by Random House in Canada.  The novel begins14 years before the events in Romeo and Juliet, and, as the title suggests, it is told from the point-of-view of Shakespeare’s memorably comic/tragic Angelica.  With the 3rd largest number of lines in the play, she was clearly always wanting to tell her own story.


The Centre for Medieval Studies at the University of Toronto is hosting a talk this Friday, October 24 at 2pm in which I will discuss the academic research that is woven into the novel, particularly focusing on how I use fiction to present information about premodern maternal and religious desire for audiences beyond academia.  If you have ever wondered about creative ways to share scholarship with broader audiences, this talk (a reprise of one I delivered in at the Medievalist Congress in Kalamazoo) is for you.  I would be happy to deliver it at other campuses or events, or to give talks about other aspects of revising Shakespeare for modern readers—please feel free to contact me off list about hosting future events.  Details about the U of T event, which is free and open to the public, are available here:  (yes, the Canadian cover image is completely anachronistic; the US/UK cover is slightly better but only slightly . . . I assure you, the novel, like the play, is set in the 14th century)


There is also a very wonderful teaching guide for pairing Juliet’s Nurse with Romeo and Juliet, created by Pam Cole of Kennesaw State University.  The guide includes sections focusing on literary concepts such as genre, point-of-view, irony, etc. and also on interdisciplinary approaches drawing on history, science, fine arts, etc.  It’s adaptable for use at both the high school and undergraduate levels and can be downloaded for free at  


Thanks to SHAKSPER colleagues who helped in research along the way.


Best regards,

Lois Leveen

Portland, Oregon


Book Announcement: Shakespeare and the Ethics of Appropriation

The Shakespeare Conference: SHK 25.448  Monday, 24 November 2014


From:        Alexa Huang <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         November 22, 2014 at 9:17:20 AM EST

Subject:    Book Announcement: Shakespeare and the Ethics of Appropriation


Book Announcement: Shakespeare and the Ethics of Appropriation 


Edited by Alexa Huang and Elizabeth Rivlin

Palgrave Macmillan, 2014


At a time when Shakespeare is becoming increasingly globalized and diversified it is urgent more than ever to ask how this appropriated ‘Shakespeare’ constructs ethical value across cultural and other fault lines.


Available in e-book (PDF) and hardback formats


Table of Contents


Introduction; Alexa Huang and Elizabeth Rivlin


1. Shakespearean Rhizomatics: Adaptation, Ethics, Value; Doug Lanier

2. Recognizing Shakespeare, Rethinking Fidelity: A Rhetoric and Ethics of Appropriation; Christy Desmet 

3. Ethics and the Undead: Reading Shakespearean (Mis)appropriation in Francis Ford Coppola's Dracula; Adrian Streete

4. Adaptation Revoked: Knowledge, Ethics, and Trauma in Jane Smiley's A Thousand Acres; Elizabeth Rivlin

5. Double Jeopardy: Shakespeare and Prison Theater; Courtney Lehmann

6. Theatre Director as Unelected Representative: Sulayman Al-Bassam's Arab Shakespeare Trilogy; Margaret Litvin

7. A "whirl of aesthetic terminology": Swinburne, Shakespeare, and Ethical Criticism; Robert Sawyer

8. "Raw-Savage" Othello: The First Staged Japanese Adaptation of Othello (1903) and Japanese Colonialism; Yukari Yoshihara

9. The Bard in Bollywood: The Fraternal Nation and Shakespearean Adaptation in Hindi Cinema; Gitanjali Shahani and Brinda Charry

10. Multilingual Ethics in Henry V and Henry VIII; Ema Vyroubalová

11. In Other Words: Global Shakespearean Transformations; Sheila T. Cavanagh


Afterword: "State of Exception": Forgetting Hamlet; Thomas Cartelli


Appendix: For the Record: Interview with Sulayman Al-Bassam; Margaret Litvin 


Book Announcement: Marina Tarlinskaja, Shakespeare and the Versification of English Drama, 1561–1642

The Shakespeare Conference: SHK 25.447  Monday, 24 November 2014


From:        Marina Tarlinskaya <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         October 19, 2014 at 3:18:09 PM EDT

Subject:    Book Announcement: Marina Tarlinskaja, Shakespeare and the Versification of English Drama, 1561–1642


Book Announcement: Marina Tarlinskaja, Shakespeare and the Versification of English Drama, 1561–1642


H50% discount – use code 50ALA14N when ordering Shakespeare and the Versification of English Drama, 1561–1642 Marina Tarlinskaja, University of Washington, USA


‘Tarlinskaja has long been recognized as the world’s authority on Shakespeare’s versification. Providing a thorough history of iambic pentameter in and around the commercial theaters of early modern England, her book illuminates Shakespeare’s achievement by locating him within the rhythmic environments of his day. The breadth and depth of this book are remarkable: from the sixteenth century through the closing of the theaters, all of the major playwrights come in for examination; statistical figures for their works are assembled in a central table. The result is likely to help revive the study of Shakespeare’s versification even as it adds to our understanding of how, and when, his contemporaries wrote their plays.’


Douglas Bruster, University of Texas at Austin, USA


Early Theatre 17.2 (2014) Forthcoming in December in Print and Online

The Shakespeare Conference: SHK 25.446  Monday, 24 November 2014


From:         Helen M Ostovich <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:          November 14, 2014 at 11:33:54 PM EST

Subject:     Early Theatre 17.2 (2014) 


Early Theatre 17.2 (2014) Forthcoming in December in Print and Online


Dear Colleagues,


The latest issue of Early Theatre will be released in December 2014.  Our new website is <>, with only the most recent two years’ subscription behind a moving wall.  The other volumes, from 1 (1998) to 15 (2012) are freely searchable and available for downloads online in pdf format. 


Current issue:

Editorial  (by the editors)

Epitaph:  Lawrence Clopper (by Alexandra Johnston)




Hocus Pocus and the Croxton Play of the Sacrament

 (by Cameron Hunt Macnabb)


'To all kinde of estates I meane for to trudge': Making room for commoners in Cambises

(by Maya Mathur)


The Appearance of Blacks on the Early Modern Stage: Love's Labour's Lost's African Connections to Court

(by Matthieu Chapman)


Inferior Readings: The Transmigration of 'material' in Tamburlaine the Great

(by Mathew Martin)


Ben Jonson's Eloquent Nonsense: the Ordeal of Heard Meanings on the Early Modern Stage (1609-1614)

(by Hristomir A. Stanev)



New Approaches to Thomas Heywood

Contributing Editor:  Grace Ioppolo


Introduction:  Entire Hands and Main Fingers

(by Grace Ioppolo)

Thomas Heywood: Just in time

(by Grace Ioppolo)

'Stolne and surreptitious': Heywood as a Test Case

(by William Proctor Williams)

Playhouse Shadows: the Manuscript Behind Dick of Devonshire

(by William B. Long)


Best wishes,

Dr H M Ostovich  <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Founding Editor, Early Theatre <>

Professor Emeritus, English and Cultural Studies

McMaster University


Launching Early Modern London Theatres, V. 2

The Shakespeare Conference: SHK 25.445  Monday, 24 November 2014


From:        Sally-Beth MacLean <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         November 23, 2014 at 4:40:29 PM EST

Subject:    Launching Early Modern London Theatres 


Launching Early Modern London Theatres, V. 2


I am delighted to report the launch this week of the second phase of Early Modern London Theatres, with extensive new data relating to several entertainment centres south of the Thames: the Hope, Newington Butts, the Swan and the bearbaiting arenas (‎). Next to come will be the Rose which we turn to next.


We owe special thanks to lead EMLoT bibliographer, Tanya Hagen, whose scholarship and dedication to the project have been key to our progress. She has been ably assisted by an outstanding graduate student in the Dept of English, John Estabillo, who is now associate editor for phase 2.


The funding for their work has come from grants from the SSHRC and The British Academy, for which we remain deeply grateful.


Sally-Beth MacLean

REED Director of Research/General Editor


Conversations with Kay Stanton, Neil Rudenstine, and Ammon Shea

The Shakespeare Conference: SHK 25.444  Monday, 24 November 2014


From:        John F Andrews <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         November 21, 2014 at 1:34:55 PM EST 

Subject:    Conversations with Kay Stanton, Neil Rudenstine, and Ammon Shea


Speaking of Shakespeare


Kay Stanton Examines the “Whores” in Shakespeare


Monday, November 24, at 6:00 p.m.

The National Arts Club

15 Gramercy Park South, New York

No Charge, but Reservations Requested


Among the females referred to as “whores” in Shakespeare’s plays are such varied personalities as Cleopatra, Desdemona, and Joan of Arc. None of them would be described by today’s audiences as prostitutes or sluts. Nor is it likely that the poet’s own contemporaries would have placed them in the same category as, say, Mistress Quickly or Doll Tearsheet, who respond to Falstaff’s desires in the Boar’s Head tavern. So how should we construe one of the most damning epithets to be found in works such as Othello and Henry Vi, Part 1? These are the kinds of questions that Kay Stanton encourages us to consider in Shakespeare’s “Whores,” a provocative new volume by one of the most popular professors at California State University, Fullerton. Copies of Dr. Stanton’s book will be available for purchase and inscription.  


Neil Rudenstine Explores Shakespeare’s Sonnets


Tuesday, November 25

Reception 6:00, Program 6:30 p.m.

The Princeton Club of New York

15 West 43rd Street, Manhattan

Members $25, Non-Members $35


A renowned educator who has held key posts at Princeton (Provost, 1977-88), the Andrew W. Mellon Foundation (1988-91), and Harvard (1991-2001), Neil L. Rudenstine has addressed a broad array of literary and cultural issues, among them the tangled history of the Barnes Collection. Dr. Rudenstine now focuses on the lyrics that Wordsworth called the key to Shakespeare’s heart. As he does so, he traces a narrative and dramatic arc that reflects the emotions a poet experiences as he reacts to all the hopes, affections, jealousies, betrayals, reconciliations, and ethical and spiritual insights that convey him from the heights of faith and devotion to the depths of fear and loathing. Copies of Ideas of Order: A Close Reading of Shakespeare’s Sonnets will be on hand for purchase and inscription.  



Linguist Ammon Shea Speaks Up For “Bad English”


Tuesday, December 9, at 6:00 p.m.

The National Arts Club

15 Gramercy Park South, New York

No Charge, but Reservations Requested


Widely admired for Reading the OED, a charming book about consuming “the whole of the Oxford English Dictionary” in one year, lexicographer Ammon Shea has also treated us to Depraved English, Insulting English, and The Phone Book. He now challenges both nitpickers and recalcitrant rule-breakers with Bad English, a delightful exploration of “our glorious mess of a language.” Noting that many of the words and phrases we now consider standard were once regarded as inadmissible or impolite, and that others we’re now discouraged from using were once thought perfectly acceptable, Mr. Shea reminds us that vocabulary and grammar are in constant flux. Copies of his witty volume will be on display for purchase and inscription.


Email This email address is being protected from spambots. You need JavaScript enabled to view it. or call (505) 988-9560 to register for these events. 


Visit for details about membership and about other Guild offerings.  


John F. Andrews, President

The Shakespeare Guild


SHAKSPER: Super Newsletter with Important Explanation

The Shakespeare Conference: SHK 25.443  Friday, 21 November 2014


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

Date:         Friday, November 21, 2014

Subject:    Super Newsletter and Explanation


SHAKSPER: Super Newsletter with Important Explanation


Dear SHAKSPER Subscribers,


I have faced many difficulties in the past few months. Here I will only talk about the technical ones. In the message below, “Update,” I explain others. 


During the summer, SHAKSPER migrated to another, faster server. Since then my problems have been legion. I won’t go into all of them, but recently there has been a serious problem with the SMTP mail server from Google. One attempt that Ron and I made was to go from free to a paid Google service. With Google technical support Ron reconfigured some of the send mail functions of the Joomla platform. 


We were both under the impression that as soon as I started the paid service that I would be getting the option of sending up to 5,000 emails a day rather than the 500 with the free service. We were wrong. 


I thought that all had been worked out several times, only to discover that the past three Newsletters that I sent to subscribers resulted in few actual deliveries (considering the approaching 1,100 subscribers) and that as a result hundreds and hundreds of subscribers were deleted from the list. 


I tired to resend those three messages with similar results until we realized that Google had not activated our 5,000 emails a day service. It may take a month or six weeks, but I have decided to try to make the best of the situation.


At this time, of the 1,033 subscribers (I am still trying to determine if the others deleted wish to continue), The October 23rd Newsletter was delivered to 718 subscribers, the November 12th to 258, and the November 13th to 659.


I decided to make a Super Newsletter containing all of those posting because there are important announcements and on-going discussions. If you have received them or don’t wish to read them, please just delete this message. If you wish to read any you may either click on the link in the three table of contents or scroll down.


With the current limit, it takes over two days to deliver ONE Newsletter, but I pledge to continue on until Google comes through with what I am paying for. 


I still have an inbox full of other announcements and other submissions. I pledge to work through them as well as I can to insure continuing SHAKSPER service to its subscribers. When the day comes that we get the increased email limit, SHAKSPER will return to being the daily organ to discussion of all things Shakespearean that it was intended to be.


Unfortunately, I have not been able to follow through with all of my plans for finding and expediting Assistant and Associate Editors to help me with some of the special features of the list and the web site. I will return to them, keeping in mind the long view of SHAKSPER’s future.



Hardy M. Cook

Editor of SHAKSPER

Acting Against the Grain: Non Traditional Shakespeare

The Shakespeare Conference: SHK 25.441  Wednesday, 12 November 2014


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

Date:         Wednesday, November 12, 2014

Subject:    Acting Against the Grain: Non Traditional Shakespeare


The University of Warwick and The Shakespeare Birthplace Trust

Invite you to

Acting Against the Grain: Non Traditional Shakespeare


Part of Being Human, the UK's first ever Festival of the Humanities


Wolfson Hall, Shakespeare Centre, Henley St., Stratford-upon-Avon, CV37 6QW


5.30-7pm Sunday 16 November 2014


Bringing together actors and academics from England and the USA who have worked ‘against the grain’: against racial and gender stereotypes, against ingrained habits of casting, and against cultural expectations, to talk about what Shakespeare’s stories and language can tell us about our lives.


The event will showcase the work of two University of Warwick projects, Shakespeare on the Road, led by Dr Paul Prescott and Dr Paul Edmondson, and Multicultural Shakespeare in Britain 1930 to 2010 led by Professor Tony Howard. 


Panellists will include Nicholas Bailey (currently playing in Macbeth at the Mercury Theatre Colchester) and Kevin Asselin (Artistic Director, Montana Shakespeare in the Parks) with video contributions by Ellen Geer (recently King Lear at Will Geer’s Theatricum Botanicum in California), Debra Ann Byrd (founder of the Harlem Shakespeare Festival, New York) and Lisa Wolpe (founder of the Los Angeles Women’s Shakespeare Company).


Places are limited: to confirm your attendance please register at


Anglo-Italian Renaissance Studies Series

The Shakespeare Conference: SHK 25.440  Wednesday, 12 November 2014


From:        Michele Marrapodi <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         November 12, 2014 at 10:47:50 AM EST

Subject:    Anglo-Italian Renaissance Studies Series 


Anglo-Italian Renaissance Studies Series - latest publications


Dear SHAKSPEReans,


I am pleased to announce the publication of the following new books in the Ashgate series “Anglo-Italian Renaissance Studies”:


A Bibliographical Catalogue of Italian Books Printed in England 1603–1642, compiled by Soko Tomita and Masahiko Tomita (Farnham: Ashgate, 2014).


A sequel to Tomita’s A Bibliographical Catalogue of Italian Books Printed in England 1558-1603, this volume provides the data for the succeeding 40 years (during the reign of King James I and Charles I) and contributes to the study of Anglo-Italian relations in literature through entries on 187 Italian books (335 editions) printed in England. The Catalogue starts with the books published immediately after the death of Queen Elizabeth I on 24 March 1603, and ends in 1642 with the closing of English theatres. It also contains 45 Elizabethan books (75 editions), which did not feature in the previous volume. 

Formatted along the lines of Mary Augusta Scott’s Elizabethan Translations from the Italian (1916), and adopting Philip Gaskell’s scientific method of bibliographical description, this volume provides reliable and comprehensive information about books and their publication, viewed in a general perspective of Anglo-Italian transactions in Jacobean and part of Caroline England.



Shakespeare and the Italian Renaissance: Appropriation, Transformation, Opposition, edited by Michele Marrapodi (Farnham: Ashgate, 2014).


Shakespeare and the Italian Renaissance investigates the works of Shakespeare and his fellow dramatists from within the context of the European Renaissance and, more specifically, from within the context of Italian cultural, dramatic, and literary traditions, with reference to the impact and influence of classical, coeval, and contemporary culture. In contrast to previous studies, the critical perspectives pursued in this volume’s tripartite organization take into account a wider European intertextual dimension and, above all, an ideological interpretation of the ‘aesthetics’ or ‘politics’ of intertextuality. 

Contributors perceive the presence of the Italian world in early modern England not as a traditional treasure trove of influence and imitation, but as a potential cultural force, consonant with complex processes of appropriation, transformation, and ideological opposition through a continuous dialectical interchange of compliance and subversion.



Best wishes,

Michele Marrapodi

General Editor,

University of Palermo, Italy.


Subscribe to Our Feeds

Make a Gift to SHAKSPER

Consider making a gift to support SHAKSPER.