Rose Theatre Bankside Readathon

The Shakespeare Conference: SHK 29.0206  Wednesday, 23 May 2018


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

Date:         May 23, 2018 at 9:37:12 AM EDT

Subject:    Rose Theatre Bankside Readathon


Please find attached information about the Rose Theatre Bankside Readathon ‘on Saturday June 2nd at 12-6pm.


The main purpose of the event is to raise awareness of the history and significance of the Rose Bankside and its connection with Marlowe and Shakespeare.


The event promises to be great fun - the more, the merrier!


Best wishes,

Ildiko Solti

Shakespeare Research Fellow

Kingston University

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Six plays read in six hours on the stage of the Rose Playhouse! Three will be by Shakespeare [Titus Andronicus, Twelfth Night and A Midsummer Night's Dream] and three by Marlowe [Tamburlaine part 1, The Jew of Malta and Dr Faustus]. For participants, roles will be drawn out of a hat. For audience members, there will be a synopsis of each play.


12.00 Tamburlaine 

13.00 Titus Andronicus 

14.00 The Jew of Malta 

15.00 Twelfth Night 

16.00 Dr Faustus 

17.00 A Midsummer Night’s Dream


A number of celebrities may make an appearance during the Readathon. Where possible, participants should arrive 10-15 minutes before the start of each play - exact timetable available through the ticketing link below.


A phone call to say that you're cancelling would be appreciated 020 7261 9565.


Readathon Tickets Link 2018


The Rose is an indoor archaeological site, it is advisable to dress with an extra layer as there is no heating. There are also no toilets so please use Shakespeare’s Globe just a few hundred metres away. 

Please arrive 15 minutes before the production starts to pay for or collect your tickets.


Readathon Flyer:  pdf Rose Theatre Bankside Readathon flyer (529 KB)




Release of B&L 11.2

The Shakespeare Conference: SHK 29.0204  Tuesday, 22 May 2018


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

Date:         May 18, 2018 at 1:19:08 PM EDT

Subject:    Release of B&L 11.2


Christy Desmet and I are delighted to announce the release of Borrowers and Lenders: The Journal of Shakespeare and Appropriation 11.2 (2018), featuring articles by Balz Engler on “A Village Romeo and Juliet”; Sarah Hatchuel and Nathalie Vienne-Guerrin on Lego Shakespeare; Jonathan Burton on The New Hamlet and the New Woman; Christian Smith on Dorothea Tieck and Shakespeare; Yousef Award and Barkuzar Dubbati on Hamlet and The Road to Damascus; Jeffrey Kahan on Vortigern; and Jennifer Holl on Drunk Shakespeare. The issue also includes performance and book reviews by Regina Buccola and Giorgia De Santis, and the release of our new section, “Shakespeare Apps,” edited by Louise Geddes, with a review by Mark Aune of the application “Stratford Shakespeare Festival Behind the Scenes.”




Call for Essay Proposals: Shakespeare’s Audiences

The Shakespeare Conference: SHK 29.0203  Thursday, 17 May 2018


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

Date:         May 17, 2018 at 10:51:22 AM EDT

Subject:    Call for Essay Proposals: Shakespeare’s Audiences


Call for Essay Proposals for

Shakespeare’s Audiences

Edited by Dr. Matteo Pangallo, Virginia Commonwealth University


Shakespeare’s Audiences will collect together essays exploring the history of Shakespeare’s audiences and the reception of Shakespeare’s plays and adaptations of those plays in performance, from the sixteenth through the twenty-first centuries. The focus of the book is on the history of audience experiences of and responses to the production of Shakespeare’s plays across all performance platforms, including theatre, radio, television, film, podcast, and online, and from a range of cultural contexts around the globe. Rather than center on the productions themselves and their choices, the essays in this volume will turn a spotlight on the consumers of Shakespearean productions and their own engagements with those productions. Approaches taken by contributors might include—but are not limited to—studies of audience demographics, historical surveys of audiences at a particular venue or in a particular medium or of a particular company, case studies of playgoers’ accounts of or responses to particular performances, examinations of a particular theater critic’s evaluations of Shakespeare productions, close readings of Shakespearean fan fiction, and so forth. The essays in the collection will be divided into five sections: Original Audiences (theatrical productions up until 1642), Stage Audiences (theatrical productions from the Restoration to the present), Screen Audiences (film and television), Audio Audiences (radio, analog recordings, podcasts, etc.), and Online Audiences (websites, web series, online videos, etc.).


Proposals to contribute an essay in Shakespeare’s Audiences should be sent as a Word Document attachment to This email address is being protected from spambots. You need JavaScript enabled to view it. and must include an essay title and abstract (no more than 200 words), an indication of which section in the book into which the essay would best fit, and the contributor’s CV, including identification of his or her current affiliation. The deadline to submit a proposal is Tuesday, July 31. Inquiries or requests for additional information may also be directed to This email address is being protected from spambots. You need JavaScript enabled to view it.


Matteo Pangallo

Assistant Professor

Department of English

Virginia Commonwealth University




Speaking of Shakespeare with Sir Richard Eyre

The Shakespeare Conference: SHK 29.0197  Thursday, 10 May 2018


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

Date:         May 10, 2018 at 10:18:05 AM EDT

Subject:    Speaking of Shakespeare with Sir Richard Eyre


Speaking of Shakespeare

And Other Dramatic Artists 

With Sir Richard Eyre


Tuesday, May 15, at 7:00 p. m.

The Players (Edwin Booth's Club)

16 Gramercy Park South, NYC 

Free, and Open to the Public


An artist renowned for his versatility, Sir Richard Eyre is the director whose acclaimed London production of Long Day’s Journey Into Night, with Jeremy Irons and Lesley Manville in starring roles, will soon be mesmerizing audiences at BAM’s Harvey Theatre. Sir Richard’s many books include a riveting memoir about his influential decade as head of the UK’s National Theatre (1987-97), and his dozens of honors include five Olivier Awards. He has worked with many of today’s leading playwrights, among them Alan BennettDavid Hare, and Tom Stoppard, and with such legendary performers as Judi DenchIan HolmBob HoskinsDaniel Day-LewisIan McKellenVanessa Redgrave, and Paul Scofield. He has directed several operas and television series (among them Henry IV, Parts 1 and 2, and The Hollow Crown), and his celebrated films include Iris (starring Kate Winslet as poet Iris Murdoch), Notes on a ScandalStage Beauty, and The Other Man.   


For information about upcoming Shakespeare Guild engagements, among them a conversation with New Yorker favorite Adam Gopnik (Thursday, June 14 at the National Arts Club), visit Reservations are not required, but if you expect to attend, John Andrews will be grateful for a message to This email address is being protected from spambots. You need JavaScript enabled to view it..   





CFP: Little stars and galloping steeds: Sex in Shakespeare

The Shakespeare Conference: SHK 29.0189  Thursday, 3 May 2018


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

Date:         May 3, 2018 at 2:30:42 AM EDT

Subject:    CFP: Little stars and galloping steeds: Sex in Shakespeare


We have extended our deadline to May 31. 


Our confirmed plenary speaker is the world renown Jonathan Dollimore, author of Radical Tragedy, the book that inaugurated cultural materialism and Sexual Dissidence, a new edition of which will be published this year.



CFP: Little stars and galloping steeds: Sex in Shakespeare, June 22 (KiSSiT)


Little Stars and Galloping Steeds:
Sex in ShakespeareKingston Shakespeare Seminar in Theory Conference


June 22, 2018, Rose Theatre, London.

10am – 6:30pm.


Call for Papers:

There is a lot of sex in Shakespeare. Some characters have sex, some brag about having it, and some do everything in their power to shun it. Some of the sex is consensual, much of it is rapacious. There is sexuality between men and women, men and men, women and women, people and animals, and people and gods. The very definition of comedy, as a genre, hinges on the sexual act.


Sex is also about political power. It is used to enforce gender, class, and ethnic categories through disavowal, demonisation, and displacement. However, as Jonathan Dollimore observes in Sexual Dissidence, sex can also be a form of dissident knowledge. For deviance is disobedience. As the cross-dressing Rosalind says in As You Like It, “the wiser the waywarder”! Through what Dollimore calls “the perverse dynamic”, the sexual dissident can discover the displaced Other at the very heart of the authority that attempts to disavow it.


For this conference, we are calling for an investigation of the role of sex and sexuality, in its political, figurative, and theatrical sense, in Shakespeare’s plays. Papers could unblushingly peer into Shakespeare’s plays and poems and perform a close-viewing of their sexuality. We welcome papers that set the sexuality in the plays’ historical period as well as papers that read the sexuality as a means to critique our present moment. We welcome papers that read the sexuality through a preferred theoretical lens; Feminism, Psychoanalysis and Queer Theory are good fits, but what about Marxism, Eco-criticism, and, well, the animal turn.


Confirmed Plenary speaker: Jonathan Dollimore


Possible topics:

  • What is the role of sexual desire and pleasure in Shakespeare’s plays and poems?
  • What can be said about Shakespeare’s ambiguity as to whether certain characters actually have sex (Bottom and Titania, for example)?
  • How have directors staged sex in Shakespeare performances?
  • What is the role of sexual refusal in the plays and poems?
  • How is sex weaponised or used in power moves such as rape (Lavinia, Lucrece), or through manipulation (Richard and Anne, Henry V and Katherine)?
  • What is the relationship between sex and court or state power?
  • What is the role of sexual deviance and perversion in the plays and poems?
  • How does the sex act of the bed trick work hermeneutically?
  • How can we read Shakespeare‘s allusions to varies types of sex acts – intercourse, oral sex, anal sex – and different parts of the sex act – wooing, orgasm, post-coitus?
  • What qualities of sex are found in Shakespeare – phallic-centred, female-centered, rapacious, BDSM, polymorphous perverse?
  • What role does sexuality play in the plays’ queer relations, in their rainbow of forms – open, mistaken, ambiguous, closeted, sublimated?
  • What role is sexual allusion playing when it is deployed by Shakespeare in violence – Samson‘s and Gregory‘s opening dialogue in Romeo and Juliet, Macbeth‘s dagger speech (2.1.33-64)?
  • What role do the sexual acts of prostitutes play in the plays?
  • How can incest be read in, say, Pericles and Hamlet?
  • How does it change the reading of a play if it is assumed that certain characters – say, Hamlet and Ophelia, Demetrius and Helena, the poet and the fair youth – have already had sex before the opening of the play/poem?
  • What role does sex play in Classical allusions – Ovid, Homer, Apuleius – in the plays and poems?


Please send paper proposals/abstracts to the conference organisers:

Christian Smith and Paul Hamilton by May 31, 2018.

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All best, 

Paul Hamilton 

Shakespeare Fellow, 

Kingston University 




'Not the Year's Work in English Studies' for 2016 Now Available

The Shakespeare Conference: SHK 29.0185  Saturday, 28 April 2018


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

Date:         April 28, 2018 at 10:50:08 AM EDT

Subject:    'Not the Year's Work in English Studies' for 2016 Now Available




From 2000 to 2016 I wrote the “Shakespeare: Editions and Textual Studies” annual review for the Year’s Work in English Studies published by Oxford University Press. In 2016 I was asked to stand down and so gave up the review, but I continue to attempt to read and evaluate everything published in this field. Since the discipline of formally reviewing scholarship is the best way to make sense of it, I decided to continue writing an annual review and to self-publish it on my website. I am grateful to Ed Pechter for serving as my editor for this review, saving me from 100s of infelicities and improving the sense in many places. I would be interested to hear from any readers who find this review useful.


The review is called Not the Year's Work in English Studies (NYWES) and it appears at:


The review for 2016 has just be published there, alongside links for NYWES for 2015 and YWES for 2014 and every preceding year back to 1999.



Gabriel Egan





Borrowers and Lenders CFP

The Shakespeare Conference: SHK 29.0184  Saturday, 28 April 2018


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

Date:         April 27, 2018 at 8:18:25 PM EDT

Subject:    Borrowers and Lenders CFP


Borrowers and Lenders Special Issue: Shakespeare and Gaming CFP


In what game designer Eric Zimmerman calls our ‘ludic century’, the proliferation of games of all sorts makes them a schema for (re)understanding the modes and habits of cultural production. Indeed, the practices of Shakespearean appropriation are frequently products of playful engagements, whereby the appropriator traverses the text, building virtual or imaginary worlds that interact with the received Shakespearean corpus, its margins, and its outliers in creative ways. Moreover, just as play may be likened to appropriation, aspects of Shakespeare games and game development might reflect and/or challenge traditional modes of humanistic inquiry, and adaptive play has the capacity to influence critical reading practices. Using games to foreground the notion of interactivity at the heart of appropriation, this special issue of Borrowers and Lenders invites multimedia projects, including original creative-critical games, and theoretically-oriented essays of between 5,000 and 9,000 words to explore how games and games studies impact the study and circulation of Shakespeare, offering new models of reading through appropriative acts. 


Topics might include:

  • Educational and pedagogical games 
  • Role-playing games and character studies 
  • Failure, fail-states, and glitches as concepts applicable to and beyond gaming
  • Gaming and performance studies/performativity
  • Game-making as scholarship and criticism
  • Shakespeare and Shakespeareana in interactive and electronic literature
  • Shakespeare board and video games
  • Shakespearean quotations, allusions, and motifs in non-Shakespearean games or games culture more broadly
  • Theories of play and interactivity
  • Transmedia approaches to Shakespeare
  • Virtual and immersive Shakespeare experiences

Because Borrowers and Lenders is an online, open-access journal, we encourage essays that include embedded media and games hosted on free platforms such as Please submit a 250-word abstract to This email address is being protected from spambots. You need JavaScript enabled to view it. by August 15th, 2018.  Selected essays will be due February 1st, 2019 for publication in early 2020. Borrowers and Lenders is a peer-reviewed journal, and submissions will be reviewed by the volume’s guest editors and anonymous readers in Shakespeare and game studies.  For more information, please visit:




CFP: What’s Missing in Shakespeare?

The Shakespeare Conference: SHK 29.0183  Thursday, 26 April 2018


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

Date:         April 25, 2018 at 8:26:35 PM EDT

Subject:    CFP: What’s Missing in Shakespeare?


Essay Collection: What’s Missing in Shakespeare?

Co-edited by Darlene Farabee (University of South Dakota) and Brett Gamboa (Dartmouth College)


Shakespeare’s plays are often complicated by what they lack. Key characters go missing from scenes or drop out of the action entirely; absent characters exert influence over those onstage; mislaid or immaterial objects are pivotal to the resolutions of plots; urgent questions are settled through silences; and plays are frequently haunted by untaken roads or abandoned plot threads. In addition, contemporary performances are shaped significantly by cuts to the script, with some scenes or characters rarely realized in performance, and some plays rarely performed at all.


We invite contributions for a peer-reviewed essay collection on the value of what goes missing on Shakespeare’s stage. We envision a collection mainly focused on performance, mingling historically situated analyses and readings of the plays through contemporary theoretical concerns. Contributors might explore the foregoing (or related) topics through a variety of critical approaches, including editorial and textual studies, object-oriented ontology or actor-network theory, cultural studies and canonicity, cognitive and reception theories, genre studies, or attention to contemporary staging. Additional topics of inquiry might include:

  • deletions from or changes to source materials
  • generic irresolution
  • reported action, or ‘scenes’ occurring offstage
  • omissions from contemporary or period accounts of performance
  • syntactical omissions or elisions
  • absences brought on by representational limits (horses, weather, landscapes, etc.)
  • gaps in time or multiple time schemes

 Please send abstracts of about 250 words (for essays of 5000-6000 words in length) and a brief c.v. to This email address is being protected from spambots. You need JavaScript enabled to view it. and This email address is being protected from spambots. You need JavaScript enabled to view it. by no later than June 3, 2018. Please do not hesitate to contact us with any questions about individual topics or the volume as a whole.




April 23 . . .

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

Date:         April 23, 2018 at 12:29:22 PM EDT

Subject:    April 23 . . . 


Happy birth / death / book day from the Pearce Shakespeare Endowment!


In 2017-18, we hosted Marc Shell and Ayanna Thompson; conducted a pedagogical workshop for local teachers; led a seminar on The Tempest at the West Tennessee State Penitentiary; co-sponsored a lecture about the Reformation as well as a performance of “Shakespeare’s Women” directed by Leslie Reddick '82; and judged over 200 entries for Rhodes' inaugural Sonnet Contest. The two winning sonnets were published in The Southwestern Review and The Commercial Appeal:


We were also elated to welcome to Rhodes Stephanie Elsky, an accomplished teacher-scholar with interests in law and literature; the history of political thought; gender and women’s writing; the origins of colonialism; the reception of the classical past; and the history of the material text. 


Save the date: Professor Elsky will host Michelle Dowd for a lecture on Thursday, February 21, 2019. Professor Dowd directs the Hudson Strode Program in Renaissance Studies at the University of Alabama, where Theodore Nollert ’16 is currently enrolled, and from where Will Roudabush ’15 (now at SMU) graduated. 


Other recent Rhodes English alumni pursuing early modern studies include Jeremy Culver '13, NYU Team Coordinator for the Early Novels Database; Maggie McGowan ’14, who presented “Cultivating Skill in William Cowper's The Task” at the Annual Meeting of the American Society for Eighteenth-Century Studies (where she caught up with Professor Rudy); Andrew Miller ’11, whose Spenser essay was accepted for publication in English Literary History; Samantha Smith '14, now Education and Development Coordinator for the Atlanta Shakespeare Company; and Katherine Watkins '07, who teaches Shakespeare in Millington and won the 2017 Milken Educator Award.


Scott Newstok looks forward to commencing his sabbatical by teaching in Rhodes’ London program, visiting longtime Pearce collaborator Nick Hutchison, and researching Orson Welles at the Folger Shakespeare Library.





Launch of New Edition of

The Shakespeare Conference: SHK 29.0179  Monday, 23 April 2018


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

Date:         April 22, 2018 at 4:12:24 PM EDT

Subject:    Launch of New Edition of





Launching April 23rd 2018 3.0


Exploring Shakespeare’s Works like never before…



We are thrilled to announce the launch of version 3.0! 


We’ve received many suggestions for new features over the past decade, and all are now implemented in the 3.0 edition of the site. 


These include:

  • The site now runs up to ten times faster than before
  • All texts are shown in a First Folio or Quarto edition alongside the modern text
  • All Folio & Quarto spellings of words are now in the Glossary
  • The Relationship Circles are now interactive: click on a name to see that character's Part in the play
  • We've rebuilt the search engine, and added auto-completion functionality for word-search and character-search - start typing a word…
  • You can now search for words used by individual characters and in individual plays or poems
  • With rebuilt advanced search function, it’s easy to see if a particular word is being used nearby your search word
  • And most importantly, the site is now mobile-adaptive, so people can explore it on their cell-phone or tablet. Shakespeare’s Words is now pocket-sized!

In order to meet the substantial costs incurred in developing this new site we've introduced a ticketing model: after a limited free exploration, those who wish to carry on using the site can purchase access for a day, a month, a year, or a decade. 


And, as ever, once running costs are covered, we intend to make donations to theatre companies that receive no public subscription.


For further information, contact This email address is being protected from spambots. You need JavaScript enabled to view it..


David and Ben Crystal





The Shakespeare Conference: SHK 29.0178  Thursday, 19 April 2018


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

Date:         April 18, 2018 at 12:56:46 PM EDT

Subject:    REED News


REED: Berkshire, ed. Alexandra F. Johnston, Launched!


Announcing REED’s second digital edition, for the county of Berkshire, edited by Alexandra F. Johnston. Now freely available at REED Online:


We are pleased to make available the long-awaited records for Berkshire and equally delighted that for the first time users will be able to search across two collections for locations, people and a wide range of topics, such as summer games or the King’s Men. We anticipate an ever-growing list of results as more collections are published online.


The REED: Berkshire records illustrate a rich popular entertainment tradition. The most prominent details of mimetic activity come from the parish of St Laurence, Reading, which has preserved records running from 1498 to 1573, among the fullest and richest in England. Virtually every kind of mimetic activity is featured--an Easter play with evidence from 1498 to 1537, an early sixteenth-century Creation play, a Robin Hood game, morris dancing, church ales, maypoles, and Hock gatherings. Reading was a stopping place for all kinds of late medieval travelling entertainers as well as for some of the most prominent professional companies, including Queen Elizabeth’s, the earl of Leicester’s, and King James’ players, along with those of other royal family members in the early seventeenth century. Noble households are also well represented in the collection, which includes an edition of “The Entertainment of Queen Elizabeth” by Lady Elizabeth Russell at Bisham in 1592.




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