Managing Director - Job Opening

The Shakespeare Conference: SHK 25.245  Saturday, 24 May 2014


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

Date:         May 24, 2014 at 11:14:35 AM EDT

Subject:    Managing Director - Job Opening


Dear Friends and Colleagues,


We are looking for a fantastic new Managing Director of Red Bull Theater.  


The job description is attached.  Please feel free to apply if it’s right for you or forward to anyone you know who might be interested.  



Jesse Berger

Artistic Director

Red Bull Theater

O: 212-343-7394 


Click to support more great classic stories Off-Broadway.


Job Description:  pdf  Red Bull Theater Manager


Garrick and Shakespeare

The Shakespeare Conference: SHK 25.242  Wednesday, 21 May 2014


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

Date:         May 20, 2014 at 5:38:33 PM EDT

Subject:    Garrick and Shakespeare


SHAKSPERians with access to London might be interested in the conference ‘Garrick and Shakespeare’ at Kingston University next month. The programme is as follows.


Gabriel Egan







JUNE 25-27 2014








Actor, manager, playwright, versifier, philosophical correspondent: David Garrick excelled in many parts, and was possibly both the most praised and vilified cultural figure of his age. Authors whose plays he rejected and performers he refused to employ were certainly not sparing in their attacks. ‘Garrick and Shakespeare’ will therefore not only focus on his achievements as a Shakespeare interpreter and impresario, but also re-examine Garrick’s controversial reputation, unprecedented celebrity status, and enduring influence as an arts administrator.





Wednesday June 25 2014 7pm

The Rose Theatre



Followed by a drinks reception


Thursday June 26 9.30am

The Rose Theatre


MICHAEL DOBSON (Shakespeare Institute, University of Birmingham)

‘The Memory of Garrick and the Dream of a National Theatre’


10-30am: Coffee





Subhajit Sen Gupta: ‘History Undone: Garrick’s Revision of Macbeth’


Varsha Panjwani: ‘Shakespeare and Garrick as Collaborators: The Two Noble Kinsmen and The Clandestine Marriage’


James Harriman-Smith: ‘”Why can I not see you act the terrible passages of this admirable tragedy!”: David Garrick and Jean-Francois Ducis’


1pm: Lunch Break





Ewan Fernie: ‘Garrick, Liberty, Germany’


Leslie Ritchie: ‘The Anonymous David Garrick’


Patricia Philippy: ‘The Poet in Stone: Garrick’s Temple and Southwark Cathedral’


Garrick’s Temple, Hampton

4.30pm: Tea

5pm: A Musical Entertainment

7.30pm: The Teddington Players: The Celebrated Mr Garrick


Friday June 27 9.30am


NORMA CLARKE (Kingston University)

‘All Grub Street was Preparing its Advice’


10.30am: Coffee





David Worrall: ‘Garrick and Noise: Auditorium Disturbances at Drury Lane’


Georgina Lock: 'Conversations with the Town: Garrick's Prologues, Epilogues and Afterpieces'


Melanie Bigold: 'Garrick’s Shakespeare Marginalia'


1pm: Lunch Break





Irene Morra: ‘Garrick, Shakespeare, and Opera’


Omaya Ibrahim Khalifa: ‘Adaptations of The Tempest and A Midsummer Night’s Dream: Garrick, AlQady and Ghazy’


Rob Gossedge: ‘Garrick’s Masque of King Arthur’


Will Summers: ‘Music, landscape, dance: Garrick’s role’


4pm: Tea




PETER HOLLAND (University of Notre Dame)

‘A Critic, A Gentleman, and Two Jubilees’



Conference Dinner:

Strada Restaurant, Kingston-upon-Thames


9.00pm: Film World Premiere:

The Rose Theatre

Miss in Her Teens starring Simon Callow


For further information and registration:

This email address is being protected from spambots. You need JavaScript enabled to view it.

+44 (0)20 8417 9000 x 628


Closure of the Institute of English Studies

The Shakespeare Conference: SHK 25.241  Wednesday, 21 May 2014


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

Date:          May 20, 2014 at 4:48:43 PM EDT 

Subject:     Closure of the Institute of English Studies


Dear All


You may have heard about the proposed closure of the Institute of English Studies which is part of the School of Advanced Study at the University of London. The attached document gives a little more background. A Steering Group to oppose this has been set up, co-chaired by Professor Anne Varty (Head of the Department of English at Royal Holloway University of London) and Professor Gordon Campbell, DLitt, FBA (Professor of Renaissance Studies at Leicester University). The Steering Group (of which I am a member) has set up a website at in the form of a petition calling for this decision to be stopped. I am attaching a brief document that gives some further information on the subject and some links that may be of interest. We very much hope that you will be able to give us your support by signing the petition, by writing to the Vice-Chancellor and by passing this message on to interested parties.


Yours faithfully

Henry Woudhuysen


On behalf of the Save the IES Steering Group



Professor Anne Varty (Head of the Department of English Royal Holloway University of London)

Professor Gordon Campbell DLitt, FBA (Professor of Renaissance Studies, University of Leicester)



The Institute of English Studies and the University of London’s ‘Recommendation’


On Thursday, 15 May 2014, Professor Roger Kain, the Dean and Chief Executive of the School of Advanced Study at the University of London, announced ‘the University’s formal response to the news that HEFCE funding for SAS will be cut by 3% with effect from 2014–15’. This response had been decided on the previous day by the Vice-Chancellor’s Executive Group (VCEG) who recommended ‘a concentration of funding into a smaller number of institutes’. In effect, part of the academic activity of the Institute of English Studies (IES) will be merged with the Institute of Historical Research (IHR) to create a centre for Palaeography and the History of the Book; part will be merged with the Institute of Modern Languages Research (IMLR) to create a centre for Comparative Literature; and the Science and Music activity of the Institute of Musical Research (IMR) will be merged with the Institute of Philosophy’s Centre for the Study of the Senses. Although this document is concerned with the IES, the future of the IMR is also a matter of deep concern.


The VCEG is an administrative, non-academic body that reached its decision about the IES without consulting those involved in the Institute’s work or those representing English as a very large national and international subject community. The decision is sudden, arbitrary, and ill-thought out. Interviews for the post of the new Director of the IES had been scheduled for 7 May and were cancelled at the last minute.


The IES was founded in 1999 but dates back to the Centre for English Studies which was created in 1991. Part of the Institute’s mission is to ‘Promote advanced study and research in English Studies in the wider national and international academic community’. It has consistently fulfilled this aim: by organizing conferences (currently 25 each year) and seminar series (currently, around 40, with at least 6 sessions each year); by a non-stipendiary visiting fellowships programme (12 visitors a year); and by collaborations with some 60 organizations and societies. It also runs the T. S. Eliot International Summer School and the London Rare Books School and Palaeography Summer School. In the recent past, it has raised around £5m, and has been the home to major projects with partners such as the AHRC, the British Library, OUP, and Faber. The projects include: editions of Francis Bacon, John Ford, and T.S. Eliot; the Catalogue of English Literary Manuscripts, 1450-1700; digital projects relating to medieval MSS; The Irish Book in the 20th Century; the Reading Experience Database; The History of OUP; and other projects on writing, publishing and scholarly editing, including A Publishing and Communications History of the Ministry of Information, 1939-45. In addition, the IES established a pioneering MA in the History of the Book. The Institute’s work is clearly carried out at national and international levels.


If the VCEG’s recommendations are accepted, much of this activity will cease, not least its vital role in training younger scholars. What is proposed is a direct assault on the value and integrity of the Institute and of English studies as a discipline. Book History will not find its natural home in the IHR: in the UK, Historical Bibliography is a core discipline within English Studies. Nor will a Centre for Comparative Literature in the IMLR (which rightly has its own sense of that subject) accommodate the vast range of Research Seminar activity in English Language and Literature. Almost all of what has been most valuable in the IES’s work during the last quarter century or so will disappear.


Those who object to the recommendation can seek to stop or delay it: by writing to Professor Smith (This email address is being protected from spambots. You need JavaScript enabled to view it.) – a specimen form of words is available via the petition website; by raising the issue with their Universities, Faculties, and Departments and with subject groups and learned societies; by responding to Matthew Reisz’s article on the subject in the THE (; by using social media(#saveIES); and by signing a petition at .


News from The Globe Theatre

The Shakespeare Conference: SHK 25.239  Tuesday, 20 May 2014


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

Date:         Tuesday, May 20, 2014

Subject:    News from The Globe Theatre


Winter 2014/15 Season at Sam Wanamaker Playhouse


‘The extraordinary thing about the new indoor Jacobean theatre that is part of Shakespeare’s Globe, is that it feels as if it’s always been there and was just waiting to be uncovered.’ The Guardian


Earlier this year we opened the doors to our candlelit jewel box, the Sam Wanamaker Playhouse, and presented what was to be a triumphant first season. The beautiful space was filled with heart-warming visions of light and shadow, of stillness and silliness, mayhem and music from across centuries and continents.


Extreme love is at the heart of our new winter season while we also use the Playhouse to explore further the repertory beyond Shakespeare. The early theatre had a taste for psychological intensity, and these plays do not disappoint.


Those of you who have experienced the Playhouse already will know what an intoxicating cocktail of sensual pleasure awaits. For those who have not visited yet, we urge you to join us in this delightful space.


Opening the second Sam Wanamaker Playhouse season is the first of two plays by John Ford. ‘Tis Pity She’s a Whore enters challenging moral territory as the infamous tale of incestuous lust and obsessive revenge plays out with a disturbing lack of judgement.


Continuing John Ford’s exploration of the darkest recesses of the human psyche is The Broken Heart, a brilliantly nuanced story of an exalted love struggling to exist in a world of selfishness, jealousy and tawdry court politics. 


Completing the trio of Jacobean tragedies is Thomas Middleton & William Rowley’s furiously dramatic The Changeling in which beautiful Beatrice-Joanna tasks her repulsive servant to murder her fiancé, only for him to demand a reward. 


After delighting audiences and critics alike Adele Thomas’ hilariously uproarious depiction of Francis Beaumont’s The Knight of the Burning Pestle will play again. Pauline McLynn returns as the chattering Citizen’s Wife who, along with her husband continues to break the fourth wall as they demand their apprentice Rafe take the lead role in the play they have come to see. Combining salty colloquial prose with charming songs, The Knight of the Burning Pestle was one of the first madcap, mash-up, screwball comedies to hit the English stage and the first to run not one but two plays-within-the-play simultaneously.


The Globe’s ground-breaking collaboration with The Royal Opera L’Ormindo also returns to the Sam Wanamaker Playhouse. Audiences and critics were charmed by the intimate nature of the work, a rare opportunity to experience Baroque opera. Kasper Holten, Director of The Royal Opera, directs a production inspired by the theatrical conventions in London at the time, with music under the direction of Christian Curnyn, one of the most sought-after Baroque specialists of today.


The Sam Wanamaker Playhouse will host the world premiere of Claire van Kampen’s new play Farinelli and the King. Set in eighteen-century Spain and Italy, it tells the true story of Farinelli, the world’s most famous castrato, and his decision to trade fame and fortune for a live of servitude at the court of King Philip V. Replete with beautiful arias originally sung by Farinelli, this production promises to be a feast for the ears and eyes.


Trained by the Globe’s resident experts in the craft and performance of early modern drama, The Globe Young Players are a company of specially selected talented 12 to 16-year-olds. After a brilliantly accomplished debut with The Malcontent, they return for their second production- Christopher Marlowe’s Dido, Queen of Carthage. Marlowe’s first play, inspired by Virgil’s Aeneid is an intense tale of meddling gods, public duty and tragic love played out against the aftermath of the Trojan War. 





Caribbean writer Derek Walcott adapts his Nobel Prize-winning epic poem Omeros for performance in the unique Sam Wanamaker Playhouse. The poem spans both time and continents, following the journey of a present-day Odysseus and a beautiful house servant Helen, who incites her own Trojan War.


The narrative is rooted on the island of Saint Lucia, Walcott’s home, and will be underscored by live music to evoke the flavour of the Caribbean.


‘No poet rivals Mr. Walcott in humour, emotional depth, lavish inventiveness in language or in the ability to express the thoughts of his characters’
The New York Times Book Review



Globe in Cinemas


The Tempest



Prospero, Duke of Milan, usurped and exiled by his own brother, holds sway over an enchanted island. He is comforted by his daughter Miranda and served by his spirit Ariel and the deformed slave Caliban. When Prospero raises a storm to wreck this perfidious brother and his confederates on the island, his long contemplated revenge at last seems within reach.


Imbued with a spirit of magic and the supernatural, The Tempest is Shakespeare’s late great masterpiece of forgiveness, generosity and enlightenment.


Jeremy Herrin’s previous work for Shakespeare’s Globe includes 2011’s much loved Much Ado About Nothing.


Roger Allam won the Olivier Award for best actor for his role as Falstaff in Henry IV parts 1 & 2 at the Globe in 2010. Other recent credits include The Thick of It (BBC) and Tamara Drewe (Film).


Colin Morgan is best known for playing Merlin in the long running BBC series Merlin.


In UK cinemas from 28 May 2014.


Coming soon to North America, Australasia and Europe.


Director: Jeremy Herrin

Designer: Max Jones

Composer: Stephen Warbeck


Cast: Roger Allam, Jason Baughan, Jessie Buckley, Sam Cox, Pip Donaghy, Trevor Fox, Peter Hamilton Dyer, James Garnon, Joshua James, William Mannering, Colin Morgan, Matthew Raymond, Sarah Sweeney, Amanda Wilkin.


Running time: 169 mins inc. 15 min interval






When three witches tell Macbeth that he is destined to occupy the throne of Scotland, he and his wife choose to become the instruments of their fate and to kill the first man standing in their path, the virtuous King Duncan. But to maintain his position, Macbeth must keep on killing – first Banquo, his old comrade-in-arms; then, as the atmosphere of guilt and paranoia thickens, anyone who seems to threaten his tyrant’s crown.


From its mesmerising first moments to the last fulfilment of the witches’ prophecy, Shakespeare’s gripping account of the profoundest engagement with the forces of evil enthrals the imagination. 


In UK cinemas from 25 June 2014.


Coming soon to North America, Australasia and Europe.


Director: Eve Best

Designer: Mike Britton

Composer: Olly Fox


Cast: Moyo Akandé, Geoff Aymer, Bette Bourne, Stuart Bowman, Billy Boyd, Jonathan Chambers, Philip Cumbus, Gawn Grainger, Harry Hepple, Joseph Millson, Jess Murphy, Colin Ryan, Cat Simmons, Samantha Spiro, Finty Williams.


Running time: 155 mins inc. 15 min interval



A Midsummer Night’s Dream



Hermia loves Lysander and Helena loves Demetrius – but Demetrius is supposed to be marrying Hermia… When the Duke of Athens tries to enforce the marriage, the lovers take refuge in the woods and wander into the midst of a dispute between the king and queen of the fairies.


Shakespeare put some of his most dazzling dramatic poetry at the service of this teasing, glittering, hilarious and amazingly inventive play, whose seriousness is only fleetingly glimpsed beneath its dreamlike surface.


Michelle Terry won the 2011 Olivier Award for her portrayal of Sylvia in Tribes (Royal Court). Michelle returns to the Globe having previously played the Princess of France in Love’s Labour's Lost (2007).


In UK cinemas from 15 July 2014.


Coming soon to North America, Australasia and Europe.


Director: Dominic Dromgoole

Designer: Jonathan Fensom

Composer: Claire van Kampen


Cast: Huss Garbiya, Tala Gouveia, Tom Lawrence, John Light, Christopher Logan, Molly Logan, Sarah MacRae, Fergal McElherron, Edward Peel, Pearce Quigley, Stephanie Racine, Olivia Ross, Joshua Silver, Matthew Tennyson, Michelle Terry, Luke Thompson.


Running time: 182 mins inc. 15 min interval


Fiasco Theater’s The Two Gentlemen of Verona

The Shakespeare Conference: SHK 25.237  Thursday, 15 May 2014


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

Date:        Thursday, May 15, 2014

Subject:    Fiasco Theater’s The Two Gentlemen of Verona


Last night, I saw the amazing Fiasco Theater’s six-person version of The Two Gentlemen of Verona. Two Gents is not one of my favorite Shakespeares to say the least; in fact, it is right down there in the cellar with Taming of the Shrew and The Merchant of Venice as one of the few Shakespeare plays that I find nearly impossible to have a satisfactory experience with. However, Fiasco Theater pulled it off, milking every joke in the text and then some. As one would expect Crab stole the show. Instead of a “real” dog, Crab was played by a convincingly real Zachery Fine (AKA Valentine). As Crab, Fine’s expressions and actions reminded me of the loveable but mischievous dogs in the Saturday morning cartoons of my childhood. One of the funniest bits was when Lance (Andy Grotelueschen) commanded Crab to fetch a ball, or was it balls, from Speed (Paul L. Coffey)—delicacy forbids my describing this bit any further. Proteus was played by Noah Brody, one of the three founders and co-directors with Jessie Austrian (Julia) and Ben Steinfeld (who will appear in Cymbeline). To complete the company, Emily Young was a fine Sylvia and Lucetta. There was much music and song in a wholly enjoyable and satisfying production. I look forward to the company’s Cymbeline in a few weeks. 


[EMLS] New Issue Published

The Shakespeare Conference: SHK 25.235  Thursday, 15 May 2014


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

Date:         May 15, 2014 at 3:33:23 PM EDT

Subject:    [EMLS] New Issue Published


Dear readers and contributors,


Early Modern Literary Studies has just published its latest issue at We invite you to review the Table of Contents here and then visit our web site to review articles and items of interest.


Thanks for the continuing interest in our work,


Dr Andrew Duxfield (on behalf of the EMLS editorial team)

Sheffield Hallam University

This email address is being protected from spambots. You need JavaScript enabled to view it.


Early Modern Literary Studies

Vol 17, No 1 (2014)

Table of Contents




Heywood, Henslowe and Hercules: Tracking 1 and 2 Hercules in Heywood’s Silver and Brazen Ages

Douglas Arrell


Turning the Tables on Bacon: Computer-Assisted Baconian Philology

Peter Pesic


Milton’s Image of the Tartar: ‘Global Leviathan’ vs. ‘Global Commonwealth’

Joy Lu


Milton's  Aevum : The Time Structure of Grace in  Paradise Lost

Ayelet Langer





‘Mr Pett’ Identified? A Forgotten Early Modern Playwright

Matteo Pangallo



Book Reviews


Philippa Kelly, The King and I  (London: Bloomsbury, 2011)

Steve Mentz


Tim Fitzpatrick, Playwright, Space and Place in Early Modern Performance: Shakespeare and Company  (Farnham: Ashgate, 2011)

Alison Searle


David Loewenstein and Paul Stevens, eds, Early Modern Nationalism and Milton’s England  (Toronto: University of Toronto Press, 2008)

Christopher Ivic


Sean Lawrence, Forgiving the Gift: The Philosophy of Generosity in Shakespeare and Marlowe  (Pittsburgh: Duquesne University Press, 2012)

Holly Faith Nelson


Tom MacFaul, Poetry and Paternity in Renaissance England: Sidney, Spenser, Shakespeare, Donne and Jonson  (Cambridge: Cambridge University Press,


Erin A. McCarthy


Chris Stamatakis, Sir Thomas Wyatt and the Rhetoric of Rewriting: ‘Turning the Word’  (Oxford: Oxford University Press, 2012)

Patrick Hart


Frances Cruickshank, Verse and Poetics in George Herbert and John Donne (Farnham: Ashgate, 2010)

Joel Swann



Theatre Reviews


King LearThe Taming of the ShrewA Midsummer Night's Dream, and Cymbeline , presented by the Oregon Shakespeare Festival, February-November 2013

Geoff Ridden


Twelfth Night presented by Propeller at the Hampstead Theatre, July 2, 2013

Bill Gelber


Othello, presented by the Royal National Theatre at the Olivier Theatre, July 4, 2013

Bill Gelber


Coriolanus, presented by the Shakespeare Theatre Company at Sidney Harmon Hall, Washington, DC, March 28 - June 2, 2013

Noel Sloboda


The Duchess of Malfi, presented by Eyestrings Theatre at the Gulbenkian Theatre, Canterbury (touring), 9th October 2013

Thomas Larque



Books received


Books Received

Andrew Duxfield


Early Modern Literary Studies

Register as an Auditor for the Sixteenth British Graduate Shakespeare Conference

The Shakespeare Conference: SHK 25.234  Wednesday, 14 May 2014


From:        British Graduate Shakespeare Conference <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         May 14, 2014 at 7:02:52 AM EDT

Subject:    Register as an Auditor for the Sixteenth British Graduate Shakespeare Conference


On behalf of the committee for the British Graduate Shakespeare Conference, I would like to warmly invite you to attend our Sixteenth Conference as an Auditor this summer on the 5th-7th June. 


Registration closes on the 23rd May—to avoid paying a late fee, make sure you register before this date! 


Please find all the information you need below, I look forward to welcoming you this June to this fantastic conference at The Shakespeare Institute. 


Best wishes,

Charlotte Horobin

Publicity PR. 

British Graduate Shakespeare Conference



Sixteenth Annual British Graduate Shakespeare Conference

5th – 7th June 2014

The Shakespeare Institute, University of Birmingham


We invite Graduate students with interests in Shakespeare and Renaissance Studies to join us in June for the Sixteenth Annual British Graduate Shakespeare Conference.


This interdisciplinary conference, celebrating its sixteenth anniversary in 2014, provides a friendly and stimulating academic forum in which Graduate students from all over the world can present their research and meet together in an active centre of Shakespeare scholarship in Shakespeare’s home town of Stratford-upon-Avon. Undergraduate students in their final two years of study are also invited to attend the conference as auditors.


The conference will feature talks by David Crystal (University of Wales, Bangor), Richard Buckley (University of Leicester Archaeological Services), Ewan Fernie (Shakespeare Institute), Tony Howard (University of Warwick), Grace Ioppolo (University of Reading), Simon Palfrey (University of Oxford), and Anna Marsland from the RSC. A round table discussion about Shakespeare’s collaborative plays will be led by Peter Kirwan (University of Nottingham) and Will Sharpe (University of Birmingham).


Delegates will also have the opportunity to attend two RSC productions: Henry IV Part II, directed by Gregory Doran, and starring Antony Sher as Falstaff, and The Roaring Girl, part of the Roaring Girls season, both at a group-booking price. Lunch will be provided on each day, and we will be hosting a party and a reception  for the delegates.


The deadline for registering as auditors is Friday 23rd May 2014. You can still make a payment after this date, as late as on the door upon arrival at the Shakespeare Institute BUT any kind of transaction carried out after 23 MAY will be automatically qualified as Late Fee and no concessions apply. 


The cost of this year’s conference is £55 for all three days, or £20 per day.



Shakespeare Institute student: £45 for all three days or £15 per day.

Shakespeare Institute alumni: £50 for all three days or £17.50 per day.

UoB College of Arts and Law undergraduate student: £50 for all three days or £17.50 per day.

 The late registration fee is £70 for all three days or £25 per day. Concessions do not apply.

For more information on the conference and registration, visit: or


Find us on Facebook and on Twitter, Email: This email address is being protected from spambots. You need JavaScript enabled to view it.



The Sixteenth British Graduate Shakespeare Conference

5-7 June 2014

The Shakespeare Institute

Mason Croft, Church Street


CV37 6HP



E: This email address is being protected from spambots. You need JavaScript enabled to view it.  


T: @britgrad



CFP: Shakespeare and the Visual Arts

The Shakespeare Conference: SHK 25.232  Monday, 12 May 2014


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

Date:         May 11, 2014 at 2:16:00 PM EDT

Subject:    Shakespeare and the Visual Arts - Call for Papers


Call for Papers



The Italian Influence


Edited by

Michele Marrapodi and Keir Elam


Critical investigation into the rubric of “Shakespeare and the visual arts” has generally focused on the influence exerted by the works of Shakespeare on a number of artists, painters, and sculptors in the course of the centuries. Drawing on the poetics of intertextuality, and profiting from the more recent concepts of cultural mobility and permeability between cultures in the early modern period, this volume will study instead the use or mention of Renaissance material arts and artists in Shakespeare’s oeuvre. Among the great variety of possible topics, contributors may like to consider:


- the impact of optics and pictorial perspective on the plays or poems;

- anamorphosis and trompe l’oeil effects on the whole range of visual representation;  

- the rhetoric of “verbal painting” in dramatic and poetic discourse; 

- the actual citation of classical and Renaissance artists;

- the legacy of iconographic topoi;

- the humanistic debate or Paragone of the Sister Arts;

- the use of emblems and emblematic language; 

- explicit and implicit ekphrasis and ekphrastic passages in the plays or poems;

- ekphrastic intertextuality, etc.


Contributors are invited to submit proposals by 31st August 2014 to the addresses of the editors below. They should send a one-page abstract of their proposed chapter on the relationship between the age of Shakespeare and Renaissance visual culture, including theoretical approaches to the arts in the drama of Shakespeare and his contemporaries. Each abstract (approx. 300 words) should include the author’s name, email, affiliation, and title of the proposed contribution.


Prof. Michele Marrapodi

University of Palermo, Italy.

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Prof. Keir Elam

University of Bologna, Italy.

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Lear in Connecticut

The Shakespeare Conference: SHK 25.231  Wednesday, 7 May 2014


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

Date:         May 6, 2014 at 8:42:49 AM EDT

Subject:    Lear in Connecticut


This is a year of Lears. I am adding to their number. 


I will be acting King Lear this summer with Shakesperience, a thriving Shakespeare company founded by my former student Emily Mattina. Emily will direct, and costumes will be designed by another former student, Julie Leavitt, now a Prof of theatrical design at Fairfield.


More info about the production can be found at



Jun. 26 - 29 is King Lear as a part of Shakespeare In Library Park in Waterbury, CT.


August 6-10 is King Lear at Shakespeare on the Shoreline in Guilford, CT.


August 23 - 24 is King Lear at McLaughlin Vineyard in Sandy Hook, CT.


David Richman 


CFP: OVSC (October 24-5) OSU

The Shakespeare Conference: SHK 25.230  Wednesday, 7 May 2014


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

Date:         May 6, 2014 at 10:21:31 AM EDT

Subject:    CFP: OVSC (October 24-5) OSU


The Ohio Valley Shakespeare Conference

Call for Papers

“Lovers, Madmen and Poets:

Shakespeare and the Imaginary, Supernatural, and Divine”

October 24 and 25, 2014

Ohio State University

Columbus, Ohio


Plenary Speakers:

Evelyn Gajowski, University of Nevada, Las Vegas

David George, Urbana University


The Ohio Valley Shakespeare Conference seeks papers and panels relating to all things Shakespearean, especially those focusing on the spectral, the fantastic, the mad, and the fey. We take our cue from Theseus: “Lovers and madmen have such seething brains, / Such shaping fantasies, that apprehend / More than cool reason ever comprehends.” The place of the world-beyond-the world, the line between reality and fantasy, and the demarcation of the sane from the mad are ever-present and controversial aspects of Shakespeare’s work and of early modern literature more broadly. As the plays we now call ‘romances’ or ‘dark comedies’ suggest, the transformation of the tragic into the comedic relies, to some extent, on the willing suspension of disbelief, on the capacity to accept what is otherwise contrary to our understanding, expectation, or experience. From Samuel Pepys’ condemnation of A Midsummer Night’s Dream, to the oblique resonances between Hamlet and Derrida’s Specters of Marx, the relationship between the ‘unreal’ and the ‘real’ is everywhere present and significant in Shakespeare’s works, and centrally a focus of performance history and critical reception from the earliest moments to the present. This conference will especially highlight these aspects of Shakespeare’s oeuvre.


Join us October 24-25, 2014 in Columbus, Ohio. Papers of 20 minutes, roundtable topics, and suggestions for panels on Shakespeare’s work and that of his contemporaries welcome.

Please send abstracts of 500 words to This email address is being protected from spambots. You need JavaScript enabled to view it. by September 12, 2014.


The OVSC publishes a volume of selected papers each year, and conferees are welcome to submit revised versions of their papers for consideration. Students who present are eligible to compete for the M. Rick Smith Memorial Prizes. More information is available at


Joseph Sullivan, Ph.D.

Director of Assessment

Associate Professor of English

Marietta College

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Shakespearean Perceptions – Extension to CFP

The Shakespeare Conference: SHK 25.229  Monday, 5 May 2014


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

Date:         May 4, 2014 at 9:58:11 PM EDT

Subject:    Shakespearean Perceptions – Extension to CFP


Shakespearean Perceptions – Extension to CFP


The convenors of the 12th Biennial International Conference of the Australian and New Zealand Shakespeare Association (ANZSA) are extending the call for papers to 27 June, 2014


Many of our friends in the Shakespeare Association of America only learned of the ANZSA conference during the recent congress in St. Louis, so we have received a significant number of requests for extra time. We will also invite members of the Asian Shakespeare Association (which meets in May this year for the first time) to consider proposing a paper for ANZSA. By extending the CFP to accommodate these groups, we also welcome proposals from any interested participants who may be still wishing to consider presenting at this year’s event.


The ANZSA conference theme is “Shakespearean Perceptions,” and will be held at The University of Southern Queensland from October 2-4, 2014. Confirmed keynotes are Professor Peter Holbrook (University of Queensland), Professor Graham Holderness (Hertfordshire), Emeritus Professor Helen Ostovich (McMaster), and Professor Garrett Sullivan (Pennsylvania).


Shakespeare’s career coincided with a period during which the nature of perception was being radically reimagined. While the rise of the Elizabethan theatre brought with it new configurations of audiences, Elizabethans were learning to view plays—and indeed their world—with fresh eyes but also with fresh noses, fresh ears, fresh skin, etc. This rethinking of sensory perception also resulted in a new understanding of the roles of reason and the imagination in shaping lived experience. Rather than being a phenomenon limited to the work of Shakespeare alone, the reinvention of perception mapped itself out across the whole of the Elizabethan and Jacobean worlds, and is worth tracing in the work of Shakespeare’s coevals (Jonson, Marlowe, Middleton, and many others). By the same token, modern audiences and readers of Shakespearean drama refashion this work according to visual and sensory economies made possible by new technologies and new modes of representation. Topics that may cover this notion of Shakespearean Perceptions may include, but need not be limited to:

  • Shakespearean drama and modes of perception: the senses, passions, embodiment, and medicine;
  • Audiences of Shakespeare in the past and present;
  • Cultural histories of perception and performance;
  • Art and the iconic or emblematic nature of Shakespearean plays;
  • Reinterpretations of Shakespearean drama for the modern stage;
  • Editors and readers of Shakespeare;
  • Modes of cognition and experience in the early modern theatre;
  • Perceptions in Shakespearean drama of classical, medieval, or “New World” ideas and sources;
  • New media and film and adaptations of Shakespeare’s work and that of his contemporaries;
  • Shakespearean drama in translation to non-English-speaking languages;
  • Perceptions of the natural and supernatural worlds;
  • Ways of seeing Shakespeare in political and social contexts.

The conference venue is situated in the picturesque garden city of Toowoomba, located at the edge of the Great Dividing Range in Queensland, Australia. ANZSA 2014 will be held in conjunction with the 11th annual Shakespeare-in-the-Park Festival. Conference registration will include attendance at the opening show of the main stage performance of Much Ado about Nothing.


The conference will include lectures, papers, workshops, seminars, and performances. We invite proposals for papers or presentations (20 minutes), panels (90 minutes), and workshops (90 minutes) on any aspect of the conference theme, broadly interpreted. Proposals (250 words or less) should be sent by 27 June, 2014 to Associate Professor Laurie Johnson or Dr Darryl Chalk by email: This email address is being protected from spambots. You need JavaScript enabled to view it.


More information at. More information at  the conference website:



Associate Professor Laurie Johnson

English and Cultural Studies

School Academic Coordinator (Humanities and Communication)

School of Arts and Communication

Faculty of Business, Education, Law, and Arts

University of Southern Queensland


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