Re: Paris' Poor Physics (SHK 11.1815)

The Shakespeare Conference: SHK 11.1855  Monday, 2 October 2000.

From:           Syd Kasten <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Monday, 2 Oct 2000 15:21:16 +0300 (IDT)
Subject: Physics (SHK 11.1815)
Comment:        Paris' Poor Physics (SHK 11.1815)

Larry Weiss <This email address is being protected from spambots. You need JavaScript enabled to view it.> asked on Monday, 25 Sept:

>> A great deal of Elizabethan science seems painfully wrong, like humoral
>> medicine, for
>> instance.  What is interesting here is that while the theory is
>> specious, the practice is absolutely right.
>A semi-rhetorical question:  What part of the practice of humoral
>medicine was absolutely right?  Blood letting to correct sanguinity?

One doesn't see acute congestive heart failure as frequently as formerly
(at least into the sixth or seventh decade of the twentieth century)
because antibiotics have made rheumatic fever and its cardiac
complications rare.

But there are other causes of this potentially fatal condition.  So if
you happen to be in a place remote from medical care and your companion
is out of his digoxin, is struck with a condition of extreme difficulty
in breathing, a rapid and irregular pulse (implying that his pacemaker
has given out), his neck veins swollen, his face engorged and blue,
putting your ear to his chest revealing bubbling sounds as he breathes,
opening the vein on the palmar side of the elbow and removing a pint of
blood may save his life.  You might first try putting tourniquets on
three of his limbs, and rotating them (from limb to limb, as in crop
rotation) every 10 or 15 minutes, but don't wait to long for relief to
appear before resorting to bloodletting.

Blood letting is no laughing matter.

Best wishes,
Syd Kasten

Shakespeare's Globe International Artistic Fellowship

The Shakespeare Conference: SHK 11.1854  Monday, 2 October 2000.

From:           Franklin J. Hildy <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Sunday, 01 Oct 2000 18:05:31 -0400
Subject:        Shakespeare's Globe International Artistic Fellowship

Thought you might want to see the attached.

Shakespeare's Globe
International Artistic Fellowship
Proposal for a Pilot Scheme - Summer 2001

Aims of the Artistic Fellowship:

To create a programme which directly benefits the performance of
Shakespeare in the country and communities of Shakespeare Globe Centres

To introduce the unique playing space at the Globe to developing and
leading actors and directors worldwide from different cultural

The scheme is aimed primarily for the consideration of artistic
directors and boards of professional Shakespeare-producing theatre
companies who are actively seeking to develop their artists. If an SGC
has access only to a drama school in its country, the Globe would
consider a limited number of actors in training.

Role of Fellows:

While at the Globe, the fellows will attend a programme of voice,
movement, verse and acting work designed to respond to the challenges of
the playing space, which is also used by the 2001 Globe Theatre Company.
The work will culminate in a performance in front of an audience of
scenes from the work of Shakespeare or one of his contemporaries on at
least one dedicated Sunday or Monday during the season.

We aim to give as much experience in front of a live audience as
possible. Net income from these performances will go to the fellowship
scheme funds.

The proposed dates for the pilot scheme are from 30th July until 26th
August (a total of 30 nights from 29th July to 27th August).

Rehearsal Space:

Rehearsal space and stage time are at a premium at Shakespeare's Globe,
but it is anticipated that a 3-hour slot each day will be identified for
the exclusive use of the fellows.


For observation of performances by the Globe Theatre Company, fellows
will be issued with a temporary staff badge to allow them free access to
the Yard at all times.  If opportunities arise for seats, they will be


Various possibilities will be researched, including Bankside House, one
of the halls of residence for the London School of Economics.  This
particular accommodation offers the privacy of single rooms within a
group housing context.  Bed and breakfast is supplied.  The close
proximity to Shakespeare's Globe (a 2-minute walk) is a great benefit.


Dinner at the Globe for a 'meet and greet' will be organised as part of
the orientation session on the first night (included in the costs).


It is recommended that SGCs build an insurance policy and travel costs
into their part of the scheme.


A dedicated company manager will be assigned to the fellows for the
duration of their stay, to support fellows and to act as chief liaison
between them and the Globe.  The company management duties associated
with this scheme might also provide a number of short-term internship


Each SGC is strongly advised to contact a professional company in their
home country to make selections for the 2001 International Artistic
Fellowship scheme.

Each fellow should demonstrate a desire to meet and work with an
international group of actors in the spirit of experimentation and

For the scheme to be practically and financially viable, a minimum of at
least 6 fellows (preferably one from each SGC) is necessary.  If there
were a favourable response to the scheme, it would be possible to
accommodate a greater number of fellows from each SGC. The scheme is at
its most cost-effective with 14 fellows. SGC Japan has proposed to send
two 'auditors' to observe the project with a view to participating in a
2002 scheme.

It is intended that fellows selected by SGCs would join a small number
selected from companies in the U.K. and Ireland. Ideally, these should
form no more than 30% of the total intake each year.  A further
possibility is that fellows may be joined in classes by a small number
of 'apprentices', or actors in training, selected from local drama


It is anticipated that the costs for each fellow (including travel,
accommodation and living expenses) would be facilitated through funding
applications made by each SGC in their own country.

Costings are currently being assessed to take account of the fees and
availability of the Globe Theatre Company's professional voice,
movement, verse and acting coaches and to assess the production and
administration costs of a Sunday / Monday performance in the theatre.

An outline of the revised figures indicating a ceiling limit for the
programme will be distributed  to all SGCs on 11th October 2000.
Detailed costings will be available from 31st October.

Deadline for confirmation of participants from each SGC - 31st January

Re: Leontes

The Shakespeare Conference: SHK 11.1852  Monday, 2 October 2000.

From:           Tom Bishop <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Friday, 29 Sep 2000 11:51:53 -0500
Subject: 11.1843 Leontes - Thanks to All
Comment:        Re: SHK 11.1843 Leontes - Thanks to All

Ah yes. The passage, in Book Four, reads:

"But' I said, 'I once heard a story which I believe, that Leontius the
son of Aglaion, on his way up from the Peiraeus under the outer side of
the northern wall, becoming  aware of dead bodies that lay at the place
of public execution at the same time felt a desire to see them and a
repugnance and aversion, and that for a time he resisted and veiled his
head, but overpowered in despite of all by his desire, with wide staring
eyes he rushed up to the corpses and cried, There, ye wretches, take
your fill of the fine spectacle!' "

But here the man isn't called Leontes, and this isn't exactly
necrophilia, at least not in our nasty modern sense of the term. I
suppose one could make the case for his anger and his desire being
directed at odds as a sort of version of Leontes' difficulties, though
Socrates' point here is that this is a specifically noble and
reason-supporting form of "thumos", a sort of just indignation at the
baseness of his own desires. Leontes, perhaps, tries to adopt this
posture towards Hermione (as does Othello), yet everyone around him sees
its spuriousness quite clearly.

If you're looking into the characters' names, don't forget the essay in
the back of Pafford's Arden edition of the play.

Summer 2000 Issue of Shakespeare Bulletin

The Shakespeare Conference: SHK 11.1853  Monday, 2 October 2000.

From:           Jim Lusardi <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Saturday, 30 Sep 2000 15:53:17 -0400
Subject:        Summer 2000 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 18th year):

The Summer 2000 issue (18.3) is now off the press.  Featured in the

George Walton Williams on "Staging the Adulterate Blot in <The Comedy of

Michael Flachmann on the psychological profiling of actors and
characters--"Macbeth on the Couch."

In the section "Shakespeare on Film," Maria Jones on the whips in the
Pickford-Fairbanks <Shrew> (1929); Sam Crowl's review of Branagh's
musical adaptation of <Love's Labor's Lost>; and H. R. Coursen's review
essay on the two-hour version of Branagh's <Hamlet>.

In addition, the issue offers reviews of ten New York productions and of
regional Shakespeare from Cambridge, MA to Seattle, WA.

As usual, the issue includes production photos, Books on the Rialto and
book reviews, and a listing of EVENTS.

For additional information, see website:  www.shakespeare-bulletin.org

The current rate for a year subscription--four 48-page issues--is $15
($30 for two years, etc.).  After January 1, 2001, the rate will
increase to $20 a year.  You may start or renew a subscription, domestic
or foreign, at the old rate of $15 per year through December 31, 2000
(even though it carries over into 2001 or beyond); after that,
subscriptions will be taken at the new rate of $20 per year.  Even at
the new rate, SB remains a great bargain among journals.

Make out check or money order (no credit cards) to Shakespeare Bulletin.
Send to J. P. Lusardi and J. Schlueter, Co-Editors, Shakespeare
Bulletin, Lafayette College, Easton, PA 18042.  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. or
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Re: What's It All About, Hamlet

The Shakespeare Conference: SHK 11.1851  Monday, 2 October 2000.

From:           Sean Lawrence <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Friday, 29 Sep 2000 09:43:57 -0700
Subject: 11.1841 Re: What's It All About, Hamlet
Comment:        Re: SHK 11.1841 Re: What's It All About, Hamlet

HR Greenberg suggests,

> In this regard, there are references throughout the plays about Death's
> defying description, or not having time to describe the intimations or
> actualities of what lies beyond, horrible or not. Even Hamlet, dying,
> makes some reference, does he not, about that "fell sergeant" which
> prevents him from disclosing anything about the intuitions of the abode
> to which he is speeding.

I think the reference "this fell sergeant, death, is strict in his
arrest" doesn't keep him from telling about death, so much as keeping
him from talking and controlling his own story, which he has to entrust
to Horatio.  It cuts off his voice.

I'm not sure how much this would fit into Elizabethan ghost lore, but I
suspect that it wouldn't fit that well.  The ghosts in _Mirror for
Magistrates_ don't seem to have any difficulty talking about their

It does fit, I think, with a general theme of memento mori, of living in
terms of facing one's death.  This could be understood in a Heideggerian
way, as the ultimate power of a tragic individual--in fact, the
individuation of Dasein--or more critically as something always slightly
out of the individual's powers of appropriation.  In a series of
lectures in the 1970s, Levinas argues that the relationship with death
is always also the relationship with another person, whom we mourn or
fear or reach to in our need.  Hence, the need for Horatio or the
ghost's command to "remember me".


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