Zombie Hamlet

The Shakespeare Conference: SHK 25.022  Saturday, 11 January 2014


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

Date:         January 11, 2014 at 9:43:11 AM EST

Subject:    Zombie Hamlet 


A horror-themed mockumentary take on William Shakespeare’s classic bloody tragedy HAMLET titled ZOMBIE HAMLET is now available on DVD and instant view.


The official description of ZOMBIE HAMLET is as follows: “First-time director Osric Taylor finally manages to get his dream film financed, Shakespeare’s Hamlet-set against the epic backdrop of the American Civil War. He heads to a small town in Louisiana to start filming when production funding suddenly dries up. Osric agrees to take up southern matron Hester Beauchamp’s offer to finance his movie as long as he throws some zombies in the film to attract a wider audience. When Hester suddenly dies mid shoot, and with the local sheriff and ambitious news reporter Shine Reynolds hot on his trail, Osric is thrust into precarious and hilarious situations in a desperate effort to keep Zombie Hamlet alive.”


ZOMBIE HAMLET features Travis Wester, Jason Mewes, Shelley Long, June Lockhart, John Amos, Vanessa Lee Evigan and more.


IMDb: http://www.imdb.com/title/tt1778940/


Trailer: http://www.youtube.com/watch?v=0Rsc21xgwr8


Rotten Tomatoes: http://www.rottentomatoes.com/m/zombie_hamlet/


Shakespeare’s Hamlet: text, performance, and culture

The Shakespeare Conference: SHK 25.021  Saturday, 11 January 2014


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

Date:         January 11, 2014 at 9:47:41 AM EST

Subject:    Shakespeare’s Hamlet: text, performance, and culture


Shakespeare’s Hamlet: text, performance, and culture — University of Birmingham — FutureLearn




Academics from the Shakespeare Institute introduce aspects of the most famous play ever written - its origins, texts, and history.


Free course

Starts January 13th

Duration: 6 weeks

4 hours pw



This course introduces the many ways in which Hamlet can be enjoyed and understood. Six weekly videos discuss the play’s fortunes in print, and its own representations of writing and theatre; its place in the Elizabethan theatrical repertory; its representation of melancholia and interiority; its fortunes on the modern stage; its appeal to actors; and its philosophy.



A basic ability to read and understand Hamlet is a must for all students. Otherwise, a curiosity about this play and why it has remained such an important and iconic element in Western culture for four centuries is the sole prerequisite for the course.


The Building of the Sam Wanamaker Playhouse

The Shakespeare Conference: SHK 25.020  Saturday, 11 January 2014


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

Date:         January 11, 2014 at 9:57:30 AM EST

Subject:    The Building of the Sam Wanamaker Playhouse 


Since March 2013, there have been seven YouTube videos tracking the progress of the building of the Sam Wanamaker Playhouse. I got interested with the most recent one on lighting the playhouse with candles alone. Below are links to the seven videos and descriptions of what each contains.



Part I: http://www.youtube.com/watch?v=n3LtZfwWJzU


McCurdy’s Timber Yard


As building work progresses on the fabrication of the Sam Wanamaker Playhouse, we meet Peter McCurdy and his team of craftsmen who are working to realise the architect's plans.

Learn about the origin of the drawings, the timber and how the frame will be held together, and how research of surviving Jacobean buildings is key to the detail of our new indoor theatre.



Part II: http://www.youtube.com/watch?v=vQEXYfpEB4I


Rebuilding the Foyer


As part of the building of the Sam Wanamaker Playhouse, our foyer has been closed since October 2012 and has undergone a redevelopment, in readiness for the Globe Theatre season opening 23 April 2013.

As works come to a close on the foyer, watch the video to hear about the redesign of the space and the challenges of building in an urban area with the theatre open to the public.



Part III: http://www.youtube.com/watch?v=E7MlUVWLDHA


Opening the Foyer


In this latest video, Neil Constable, Chief Executive, talks through the newly opened foyer, including a performance of a special foyer fanfare, and the next stages of building the Sam Wanamaker Playhouse.


Dr Farah Karim-Cooper, Head of Research, follows to give a background to the project and the Architectural Research Group's task of constructing as an authentic theatre as possible, with details that Shakespeare would have experienced in his indoor space. She also shares the exciting questions that the Playhouse raises, with opportunities to learn about 17th century indoor performance practice.



Part IV: http://www.youtube.com/watch?v=eC2jc4qsVso


Arrival of the Timber


See how the interior of the Sam Wanamaker Playhouse is beginning to take shape. Peter McCurdy, McCurdy & Co, talks through the arrival of the largest timbers, how they have been crafted and marked so that they fit together and how important it is to remember that the timbers are part of the final finish, like wallpaper or paint.

We also hear from Oli Heywood, Allies and Morrison, who explains how the concept drawings found in Worcester College have been interpreted for the building



Part V: http://www.youtube.com/watch?v=HnsUobyUcm8




In this video, Claire van Kampen (Globe Associate for Early Modern Music) and Bill Barclay (Director of Music, Shakespeare’s Globe) discuss the beauty of the Sam Wanamaker Playhouse musically.

Claire talks us through the experiments and exploration that the space will offer, looking at the difference between musical instruments used outdoors, for the Globe, and indoors for the Playhouse.


Bill elaborates on the Playhouse as a dynamic concert hall, with the 2014 programme mirroring concerts from before plays in the Jacobean era.



Part VI: http://www.youtube.com/watch?v=q5-u9MIRPeI


Painting the Ceiling


We take a peek inside the paint studios at Central School of Speech and Drama to find out about the painting of the ceiling for the Sam Wanamaker Playhouse. The design will depict the heavens and fill the auditorium above the stage and audience.


Jon Greenfield, Reconstruction Architect, along with scenic artists Peter Cromby and Pierre Beadry, the team who worked on the Globe, talk through the styles and influences of the Jacobean period and where artists and craftsmen of the time would have picked up this knowledge. We also hear about techniques used on the panels, such as gold leaf, to reflect and amplify the light of the candles to be used in the Playhouse



Part VII: http://www.youtube.com/watch?v=nU92wfyW31o 




As the Sam Wanamaker Playhouse gets ready to open its doors to audiences for the very first time, we hear from Dr Farah Karim-Cooper, Head of Research, and Paul Russell, Production Manager, about how candles will light the theatre and be used in plays. 


Tom Pendleton

The Shakespeare Conference: SHK 25.019  Saturday, 11 January 2014


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

Date:         January 10, 2014 at 8:54:15 PM EST

Subject:    Tom Pendleton


Thomas A. Pendleton, Professor Emeritus of English at Iona College and Co-Editor of The Shakespeare Newsletter, died unexpectedly at his home in Norwalk, Connecticut, on Tuesday, December 31, 2013. He was 81 years old. Born in Brooklyn, New York, on March 30, 1932, to the late Charles F. and Marcella Pendleton, he served in the United States Army in the 1950s. He earned a B.A. in English from St. Michael’s College of the University of Toronto and an M.A. and Ph.D. in English from Fordham University. He taught English at Iona, in New Rochelle, New York, from 1959 until his retirement in 2012, and also served as chairman of the department and as a member of many college-wide committees. From 1991 until his death, he was co-editor of The Shakespeare Newsletter. He was a longtime Associate Member of the Columbia Shakespeare Seminar, known for his perceptive and probing contributions to discussions at seminar meetings. Although his primary scholarly interest was Shakespeare, he also taught and wrote about W.B. Yeats, James Joyce, and many modern American writers. He had interests in many other areas, including film, comic books, and baseball—and he had a gift for drawing as well. In addition to many essays, articles, and book and film reviews, he wrote I’m Sorry About the Clock: Chronology, Composition, and Narrative Technique in The Great Gatsby (1993), and he co-edited, and contributed to, “Fanned and Winnowed Opinions”: Shakespearean Essays Presented to Harold Jenkins (1997). He also edited, and contributed to, Henry VI: New Critical Essays (2001), and he edited Richard the Second for the New Kittredge Shakespeare (2012). He is survived by his wife Carol, whom he married on March 30, 1964.


Five Things You Don’t Know About Hamlet—In Five Minutes

The Shakespeare Conference: SHK 25.018  Thursday, 9 January 2014


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

Date:         January 9, 2014 at 9:56:27 AM EST

Subject:    Re: SHAKSPER: Five


Hi All,


Addressing the metrical discussion, I would like to plead for the conscious use of the spondaic and pyrrhic feet, foregoing the anapest. This anapest together with its trochaic counterpart the dactyl has little place in the iambic pentameter line. (I argue from a point of view of the sonnets, where feminine lines are aptly represented and buttress the argument as in Sonnet 42).


Sorry, Ros, to disagree with your breakdown, but Even shortened to e’en can also be ev’n as in syllabic n and the as seems riper to be stressed as a set up for the first main stress word sun, as in that is what we’re comparing things to. I also cannot get my head or mouth around a trochaic foot based on an adverb (ial phrase) such as Even as. Just as if we were speaking to one another we could sort this out very quickly by trying the different ways. 


I searched quickly and find 43 instances of this ‘even as’ construction and in the majority of cases it must be elided to fit either a 10 or 11 syllable line. Which I would argue is the desired length of an IP line. Yes there are exceptions but usually those exceptions fit the heightened emotional state of the character.


As for the anapest rarely do we find direct quotes from Shakespeare illustrating its use in, Cowper or Tennyson or Swinburne yes.


Metre is like the soundtrack to a movie, usually noticed when something heightened occurs, and indeed deserves attention.


Of course, I may be utterly wrong and expect and hope for reactions.



William Sutton


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