July
The Shakespeare Conference: SHK 10.1323 Tuesday, 27 July 1999. From: James P. Lusardi <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Monday, 26 Jul 1999 16:52:37 -0500 (CDT) Subject: Spring 1999 Issue of Shakespeare Bulletin For those who don't know or don't subscribe to Shakespeare Bulletin, a Journal of Performance Criticism and Scholarship (now in its 17th year). Contents of the Spring 1999 issue (17.2): Herbert Berry's paleographical analysis and reading of "The Date on the 'Peacham' Manuscript"-cf. June Schlueter, "Rereading the Peacham Drawing," Shakespeare Quarterly 50.2 (Summer 1999): 171-84. Dale G. Priest on "Induction, Theatricality, and Power in The Taming of the Shrew." Franklin A. Behrens on "Audio Recordings of the Shakespeare Plays," with a complete guide to recorded Shakespeare. In addition to coverage of the 1998 Stratford, Ont., Festival, the issue features reviews of REGIONAL productions from Cambridge, MA to Portland, OR. As usual, the issue includes production photos and illustrations, book reviews, and a listing of Events. SB remains a great bargain among journals: $15 (US) for one year (4 48-page issues), $30 for two years, etc. No surcharge for mailing to overseas subscribers. Back issues available @ $4. Make out check or money order (no credit cards) to Shakespeare Bulletin. Send to J. P. Lusardi and June Schlueter, Co-Editors, Shakespeare Bulletin, Lafayette College, Easton, PA 18042, USA. Phone: (610) 330-5245, fax: (610) 330-5606, e-mail:This email address is being protected from spambots. You need JavaScript enabled to view it. orThis email address is being protected from spambots. You need JavaScript enabled to view it. .
The Shakespeare Conference: SHK 10.1322 Tuesday, 27 July 1999. From: Tim Noble <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Monday, 26 Jul 1999 19:53:57 +0100 Subject: The West Swindon School' Millennium Shakespeare Festival Please will you publicise our world -first of a Millennium Festival (details at: http://www.swindonlink.com/link/start.nsf/site/shindex) We are set fair for 1000 English children and teachers - under the guidance of Chris Geelan and Sarah Gordon of The Young Shakespeare Company - to perform a 30 minute interpretation of every Shakespeare play in April 2000. 7 year olds will perform Henry V and English teachers a musical version of Titus Andronicus. Please visit our site: we're looking to forge links between each of our pupils and an American student direct over the Internet. The festival is already attracting national attention here, so 'let's get acquainted'. Contact Tim Noble on e mail:This email address is being protected from spambots. You need JavaScript enabled to view it. for further details
The Shakespeare Conference: SHK 10.1321 Tuesday, 27 July 1999. From: Mac Jackson <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Monday, 26 Jul 1999 13:47:24 +1200 Subject: The Bear in The Winter's Tale The Bear in Mucedorus and The Winter's Tale It was George F. Reynolds who suggested that one reason for the extraordinary popularity of Mucedorus (the most frequently reprinted of all pre-Restoration plays) may have been that in the role of the bear that terrifies the clown Mouse and chases Segasto and Amadine in the first Act, the King's Men, for their revival (some time before the publication of the augmented quarto of 1610) cast a real tame bear, and that the same animal may have been brought on in The Winter's Tale. ["Mucedorus, Most Popular Elizabethan Play?", Studies in the English Renaissance Drama, ed. Josephine W. Bennett, Oscar Cargill, and Vernon Hall (New York: New York University Press, 1959), pp. 248-68.] His point was that the frequent reprinting seems to have been sparked off by the revival: there was not the same demand for the original play. And it's hard to see what else about Mucedorus could have caused such a sensation, though it has great mixture of popular ingredients. His suggestion remains an intriguing speculation. So far as I know, there is absolutely no hard evidence. And on the whole I think the theory unlikely, but one can see how a real bear might have upstaged the human actors even more thoroughly than Launce's dog Crab does in The Two Gentlemen of Verona. Mac Jackson English Department University of Auckland
The Shakespeare Conference: SHK 10.1320 Monday, 26 July 1999. From: Stuart Hampton-Reeves <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Sunday, 25 Jul 1999 10:46:11 +0100 Subject: Hoghton Tower Controversy I've just got back from the international Lancastrian Shakespeare conference hosted by the University of Lancaster, partially held at the sixteenth century house Hoghton Tower. The starting point for the conference is the theory that Shakespeare spent part of his youth at Hoghton Tower as a recusant school-teacher. For those not familiar with this theory (most famously elaborated by Honnigman in Shakespeare's Lost Years), it is based on Sir Alexander de Hoghton's will, which mentions a William Shakeshafte. This has been around a long time (Schoenbaum and Chambers both mention it) but it is an idea that is coming into its own now, with new research linking Stratford and Hoghton, including two of Shakespeare's schoolmasters, and other circumstantial evidence of this nature. The theory is important because it gives Shakespeare a radical recusant background (including a tantalising link with Campion) and it appears to explain how Shakespeare became a player. The plausibility of this theory was hotly debated at the conference. I was wondering what the lists views are on this: on Catholic Shakespeare, on a Lancashire Shakespeare? Stuart Hampton-Reeves
The Shakespeare Conference: SHK 10.1319 Monday, 26 July 1999. [1] From: Andy White <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Saturday, 24 Jul 1999 01:23:46 -0400 Subj: Re: SHK 10.1307 Re: Hamlets [2] From: Dana Wilson <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Saturday, 24 Jul 1999 10:54:41 -0400 (EDT) Subj: Re: SHK 10.1307 Re: Hamlets [1]----------------------------------------------------------------- From: Andy White <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Saturday, 24 Jul 1999 01:23:46 -0400 Subject: 10.1307 Re: Hamlets Comment: Re: SHK 10.1307 Re: Hamlets Sean Lawrence writes: >Actually, I didn't see it as squalid at all. Everyone can afford to >ride horses, an aristocratic pursuit, and eat meat. The whole thing >made me think of a relaxing barbecue. For pure squalor, nothing can hold a candle to Kosintsev's Hamlet, which is available through some educational company in NJ. The opening shots give you menials shouldering the wheel, and there are lots of bleak landscapes, the atmosphere is almost Bergmanesque. Or, perhaps I've got that bass-ackwards: Bergman takes his cue from Hamlet? Who knows. Andy White [2]------------------------------------------------------------- From: Dana Wilson <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Saturday, 24 Jul 1999 10:54:41 -0400 (EDT) Subject: 10.1307 Re: Hamlets Comment: Re: SHK 10.1307 Re: Hamlets Sean wrote: > >In fact, seeing the squalor of Denmark in this > production also gave me a > >new perspective.... > > I just think that it looks vaguely medieval. Nobody > seems to be cold or > going hungry for lack of purchasing power. I think that the players in the Mel Gibson version where esp squalid. In fact, the director cut out the test to which Hamlet puts the players to allow us to see them more alone the lines of 'gypsies' than accomplished thespians. This in my opinion makes even more ironic the speech where Polonius declares the players to be the greatest in the world. Yours in the work, Dana