November
The Shakespeare Conference: SHK 16.1832 Tuesday, 8 November 2005 From: Al Magary <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Saturday, 05 Nov 2005 14:40:50 -0800 Subject: Shakespeare or non-Shakespeare? This might join Richard Burt's thread on current trends in Shakespeare. As an occasional visitor in the Forest of Arden I approach as an open-minded traditionalist, as I've indicated more than once in skeptical reviews of Laird Williamson's Julius Caesar at Ashland (2002) and Andrew Davies' Othello (TV, 2001). Now I am definitely not looking forward to--in fact, I hesitate to look at--the BBC's new Shakespeare series (the first program, Much Ado, was scheduled on BBC1 Mon. 11/7; Macbeth, Taming, and MND follow in November). Or should I say, *non-Shakespeare* series, for they're retaining some of his plot materials but rewriting the text. Shakespeare's language in total is surely the overwhelming claim on immortality, not (all) the plots. Mark Lawson previewed the series in the Guardian Nov. 2 and, with restraint, describes the pitfalls of "Changing the Bard." I commend it to the list: http://www.guardian.co.uk/print/0,3858,5323701-110428,00.html The counterpoints, I suppose, are at the BBC: http://www.bbc.co.uk/drama/shakespeare/ Here's Lawson's conclusion: "But--having selected settings, names and deviations from the plot--the scriptwriter comes to the most crucial calculation: language. The frequent justification for renovating his dramas is that most of the plays use borrowed plots. Shakespeare, though, transformed the stories he stole into language of complete originality. "Acknowledging this problem, two Hollywood directors--Baz Lurhmann's 'Romeo and Juliet' in 1996 and the 'Hamlet' (2001) from Michael Almereyda--kept the original text in sensitively edited form. '10 Things I Hate About You' [1999] and 'O' [2001], while employing contemporary high-school speech, found a patois so rich in neologisms and metaphors that it became a kind of poetry. There is also, in '10 Things', a key scene in which Kat read a Shakespeare sonnet in class. "The BBC 'Much Ado' employs the same device, through a sonnet read at a wedding, but, while none of the scripts are badly written, they settle for the vernacular banter of mainstream peaktime drama. It's not the fault the writers that they can't compete with Shakespeare, but it may seem strange to future generations that Hollywood proved more respectful towards Shakespeare than the BBC. Drama producers probably wouldn't commission a series of plays based on the plots of opera because there wouldn't be much point without the singing. Shakespeare's plots without the language also lack the singing and the point." It's pretty awful when I fear what I might find under the greenwood tree when the cattle have been standing. Too bad, for I would otherwise look forward to Damian Lewis apparently in his Shakespeare debut, as Benedick. Cheers, Al Magary _______________________________________________________________ S H A K S P E R: The Global Shakespeare Discussion List Hardy M. Cook,This email address is being protected from spambots. You need JavaScript enabled to view it. The S H A K S P E R Web Site <http://www.shaksper.net> DISCLAIMER: Although SHAKSPER is a moderated discussion list, the opinions expressed on it are the sole property of the poster, and the editor assumes no responsibility for them.
The Shakespeare Conference: SHK 16.1831 Tuesday, 8 November 2005 From: John D. Cox <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Sunday, 6 Nov 2005 21:24:24 -0500 Subject: Shakespeare's Ghosts I appreciate David Schalkwyk's mention of his forthcoming article, "Shakespeare's Ghosts," because it sounds interesting. Forgive my ignorance, but is the journal "Shakespeare," which is publishing the article, an online publication? I'm not familiar with it, so I don't know how to pursue the reference. Thanks, John Cox Hope College _______________________________________________________________ S H A K S P E R: The Global Shakespeare Discussion List Hardy M. Cook,This email address is being protected from spambots. You need JavaScript enabled to view it. The S H A K S P E R Web Site <http://www.shaksper.net> DISCLAIMER: Although SHAKSPER is a moderated discussion list, the opinions expressed on it are the sole property of the poster, and the editor assumes no responsibility for them.
The Shakespeare Conference: SHK 16.1830 Tuesday, 8 November 2005 From: Al Magary <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Monday, 07 Nov 2005 00:28:38 -0800 Subject: Hamlet in Wales: "I fod neu dim i fod" City snubs Welsh Hamlet by Marc Baker Nov 6 2005, Wales on Sunday http://icwales.icnetwork.co.uk/0900entertainment/0050artsnews/tm_objectid=16338251&method=full&siteid=50082&headline=city-snubs-welsh-hamlet-name_page.html TO BE or not to be was not the question on actors' lips as they performed Hamlet for the first time in Welsh. Rather, it was why are there more of us on the stage than in the audience? To quote Shakespeare, there was definitely something rotten in the state of Swansea when just 28 people turned up to see the Bard's masterpiece at the city's 1,021-seat Grand Theatre. The 32-strong cast of red-faced thespians spent weeks rehearsing only to find themselves performing in an all but empty auditorium. And most of those who watched the production were there only because they had been given complimentary tickets. The cast spent weeks learning the line "I fod neu dim i fod", better known as, "To be or not to be", but their efforts fell on deaf ears when hardly any literature luvvies turned up to see their performance. Wales Theatre Company producer Michael Bogdanov was specially commissioned to turn the story of the Prince of Denmark into Welsh by the Arts Council for Wales. His infatuation with England's glorious playwright began more than 50 years ago, when he saw Welsh legend Richard Burton tackle Othello. But despite the flop, the Neath-born producer last night said he was looking on the bright side. The co-founder of the English Shakespeare Company said: "The turn out was disappointing in many ways but in a way it was helpful because it was the first performance in Welsh and it gave us a chance to fine tune it in front of a small audience." The actors perform Hamlet twice back-to-back, first in English and then in Welsh. Adam Hopkins, 32, one of the members of the audience, said: "It was a bit empty to say the least, but I actually enjoyed the production. It's just a pity there weren't more people to clap at the end." The producers are hoping for bigger audiences when the touring production is performed elsewhere in Wales, including Cardiff, Milford Haven, Brecon, and Llandudno. And to make sure bums are on seats for the Cardiff shows, free tickets are being handed out for the November 2-12 performances at the New Theatre. _______________________________________________________________ S H A K S P E R: The Global Shakespeare Discussion List Hardy M. Cook,This email address is being protected from spambots. You need JavaScript enabled to view it. The S H A K S P E R Web Site <http://www.shaksper.net> DISCLAIMER: Although SHAKSPER is a moderated discussion list, the opinions expressed on it are the sole property of the poster, and the editor assumes no responsibility for them.
The Shakespeare Conference: SHK 16.1829 Tuesday, 8 November 2005 From: Nancy Charlton <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Monday, 07 Nov 2005 17:02:48 +0000 Subject: BBC Richard II http://www.bbc.co.uk/bbcfour/cinema/features/richardII.shtml To air Tuesday March 8, 11:40 p.m. - 3:05 p.m. Doesn't say what time zone. The web site article in its entirety: BBC Four presents Shakespeare's tragedy Richard II from Shakespeare's Globe Theatre in London. Starring Mark Rylance and directed by Tim Carroll, this all-male interpretation aims to replicate the authentic Shakespearean experience as accurately as possible. This evening of live theatre is presented by Andrew Marr who is joined by distinguished guests, Corin Redgrave, Zoe Wanamaker and Michael Wood to discuss all aspects of the production. Razia Iqbal talks to members of the audience. The first in Shakespeare's second history cycle, Richard II is written entirely in verse, making it one of the most lyrical of his plays. Nancy Charlton _______________________________________________________________ S H A K S P E R: The Global Shakespeare Discussion List Hardy M. Cook,This email address is being protected from spambots. You need JavaScript enabled to view it. The S H A K S P E R Web Site <http://www.shaksper.net> DISCLAIMER: Although SHAKSPER is a moderated discussion list, the opinions expressed on it are the sole property of the poster, and the editor assumes no responsibility for them.
The Shakespeare Conference: SHK 16.1828 Tuesday, 8 November 2005 From: Owen Williams <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Monday, 7 Nov 2005 15:31:45 -0500 Subject: Folger Spring Conference: Further Transactions of the Book Further Transactions of the Book A Spring Conference at the Folger Shakespeare Library organized by Anthony Grafton (Princeton University) and Ann Blair (Harvard University), with Kathleen Lynch (The Folger Institute). In recent decades, localized studies of the histories of the book have proliferated and matured. Attention to the effects of the transmission of knowledge in different media has consequently influenced work in many scholarly fields. This weekend conference carries forward the examinations of the 2001 Folger conference "Transactions of the Book." With sponsorship from The Gladys Krieble Delmas Foundation and the Center for the Book at the Library of Congress, it offers a close focus on the Continental book trades as well as on the impact of the printed book on transnational or international knowledge communities. As was its predecessor, this conference is an international gathering of social and intellectual historians, literary critics, bibliographers, and others. By extending the scope of investigation beyond the widely recognized impact of the printing press, the conference encompasses the work of influential experts and new perspectives alike to assess current trends in light of the evidence of carefully historicized local studies. Panelists include: Blaise Aguera y Arcas (Princeton), Warren Boutcher (Queen Mary University of London), Jorge Ca