Hamlet at the Folger: The Globe Way of Doing Shakespeare


The Shakespeare Conference: SHK 23.0379  Thursday, 13 September 2012


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

Date:         September 13, 2012 9:16:06 AM EDT

Subject:     Hamlet at the Folger: The Globe Way of Doing Shakespeare


The Globe company brings Hamlet the Folger Shakespeare Theater: while I much enjoyed the performance and liked how I was led really to listen to the poetry, the distanced way of acting was too stylized for me to become deeply engaged: 




I link in a recent performance of an abridged version of Hamlet and the Shenandoah Shakespeare (who also do it with the lights on).


Ellen Moody

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Latest Issue of Cahiers Elisabethains


The Shakespeare Conference: SHK 23.0378  Thursday, 13 September 2012


From:        Jean-Christophe Mayer <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         September 13, 2012 12:58:38 PM EDT

Subject:     Latest Issue of Cahiers Elisabethains


Dear List Members,


The latest issue of Cahiers Elisabethains is now available: Cahiers Elisabethains 81 (2012).


* Please note also that article submissions are now open for the next issues of the journal. For details about submissions and/or subscriptions, please see the end of this message.




Editorial Policy






The Gods’ Lasciviousness, Or How To Deal With It? The Plight Of Early Modern Mythographers (Charlotte Coffin)


The Changeling at Court (Mark Hutchings)


Massinger’s Believe As You List and the Politics of Necessity (Marina Hila)



The Pricking in Shakespeare’s Sonnet 20 (Rodney Stenning Edgecombe)



The American Shakespeare Center: “They Do it With the Lights On” (Marina Favila)



A Midsummer Night’s Dream, directed by Theu Boermans for Het Nationale Toneel, Leeuwarden, The Netherlands, 10 January 2012 (Coen Heijes)


Troilus and Cressida, directed by Tina Packer, Actors’ Shakespeare Project, The Modern Theatre at Suffolk University, Boston, Massachusetts, 28 April 2012 (Kaara L. Peterson)


Twelfth Night, directed by Melia Bensussen for the Actors’ Shakespeare Project, Plaza Theatre at the Boston Center for the Arts, Boston, Massachusetts, 15 October 2011 (Richard J. Larschan)


Much Ado About Nothing, directed by Joe Dowling for the Guthrie Theater, Wurtele Thrust Stage, Minneapolis, 6 October 2011, centre-front stalls, and 3 November 2011


Julius Caesar, directed by Rob Melrose for the Acting Company in partnership with the Guthrie Theater, Dowling Studio, Minneapolis, 17 January 2012 (Gayle Gaskill)


Measure for Measure, directed by Roxana Silbert for the Royal Shakespeare Company, The Swan Theatre, Stratford-upon-Avon, 23 November 2011 (John Jowett)


The Taming of the Shrew, an RSC Young People’s Shakespeare production directed by Tim Crouch, using an abridged text edited by the director, The Swan Theatre, Stratford-upon-Avon, 10 October 2011 (Jon Harvey)


Doctor Faustus, directed by Matthew Dunster, Shakespeare’s Globe Theatre, 23 June 2011 (Eleanor Collins)


A Midsummer Night’s Dream, directed by Sean Holmes for Filter, Curve, Leicester, 2 November 2011 (Peter Kirwan)


The Changeling, directed by Joe Hill-Gibbins, Young Vic, London, 25 February 2012 (Penelope Geng)


King Lear, directed by Andrew Hilton, The Tobacco Factory, Bristol, 29 February 2012 (Peter J. Smith)


Richard III and The Comedy of Errors, directed by Edward Hall for Propeller, Hampstead Theatre, London, 29 June 2011 (José A. Pérez Diez)


The Two Gentlemen of Verona, directed by Matthew Dunster, Royal & Derngate, Northampton, 14 October 2011 (Elinor Parsons)


Macbeth [Aspects], directed by Julien Guill, La Laiterie des Beaux-Arts, Montpellier, 27 February 2011 (Gaëlle Ginestet)


’Tis Pity She’s a Whore, by John Ford, directed by Declan Donnellan, Les Gémeaux, Scène Nationale-Sceaux, Sceaux, 4 December and 8 December 2011 (Stéphane Huet)


Le Songe d’une nuit d’été [A Midsummer Night’s Dream], directed by Nicolas Briançon, Théâtre de la Porte Saint-Martin, Paris, 22 October 2011 (Estelle Rivier)


Roméo et Juliette, directed and translated by Olivier Py, Théâtre National Populaire de Villeurbanne, 12 January 2012 (Nathalie Crouau)



Gilles Monsarrat, Sir Brian Vickers FBA, and R. J. C. Watt, eds., The Collected Works of John Ford, vol. 1 (Oxford: Oxford University Press, 2011) (Yves Peyré)


Iain Beavan, Peter Davidson and Jane Stevenson, eds., The Library and Archive Collections of the University of Aberdeen: An Introduction and Description (Manchester: Manchester University Press, with the University of Aberdeen, 2011) (Stuart Sillars)


Maria Franziska Fahey, Metaphor and Shakespearean Drama: Unchaste Signification (Houndmills and New York: Palgrave Macmillan, 2011) (David Coleman)


Graham Holderness, Nine Lives of William Shakespeare (London and New York: Continuum, 2011) (Alice Leonard)


Alexander C. Y. Huang, Chinese Shakespeares: Two Centuries of Cultural Exchange (New York: Columbia University Press, 2009) (Jesse Field)



Compiled by Janice Valls-Russell


INDEXES (Cahiers Élisabéthains 71-80): after page 92

Author Index / Subject Index / Play Review Index


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Submissions can be send to either of Cahiers's assistant editors: <This email address is being protected from spambots. You need JavaScript enabled to view it.> or <This email address is being protected from spambots. You need JavaScript enabled to view it.>


More information: <http://recherche.univ-montp3.fr/cahiers/>



Jean-Christophe Mayer and Nathalie Vienne-Guerrin

Co-General Editors

The Merchant of Venice in London and U.S. Cities


The Shakespeare Conference: SHK 23.0377  Wednesday, 12 September 2012


From:        Actors From The London Stage <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         September 12, 2012 7:21:08 AM EDT

Subject:     The Merchant of Venice in London and U.S. Cities


The Merchant of Venice 


Actors From The London Stage will present The Merchant of Venice at The University of Notre Dame this week, the University of Texas at San Antonio, next week, and Wellesley College, University of Texas at Austin, Penn State University, and Kansas State University in the following weeks. 


They will conclude their tour with performances at The Cockpit in London.


The Cockpit is at Gateforth Street (Off Church Street) London NW8 8EH 

4th November at 5.00 

5th November at 7.30



Actors From The London Stage (AFTLS) has been touring US campuses for over 36 years. Our principles remain the same as ever: to allow the discovery of the genius of Shakespeare – in class through the active involvement with the students, in performance through the release of the audience’s imagination. The plays are performed with minimal props and no set, through the skills of just five actors without a director. Shakespeare’s language is the true star as, we believe, he intended.


AFTLS is proudly supported by Shakespeare at Notre Dame.


Have You Looked at the SHAKSPER Web Site Lately?


The Shakespeare Conference: SHK 23.0376  Friday, 10 September 2012


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

Date:         September 6, 2012 1:17:17 PM EDT

Subject:     Re: SHAKSPER Web Site


I've been visiting the website lately, as I'm preparing to direct Hamlet in the spring. Revisiting some old discussions and ransacking other resources. It is, indeed, well worth visiting, and I'm greatly appreciative that it's available. 



C. David Frankel



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

Date:         Thursday, September 6, 2012

Subject:     Have You Looked at the SHAKSPER Web Site Lately?




A gentle reminder that there is a wealth of information at the SHAKSPER web site: shaksper.net


At the About tab—http://shaksper.net/about

  • You can learn general information about the list and read some of the essays I have written about it; 
  • You can also read about the SHAKSPER “Team,” about the SHAKSPER Advisory Board and about the SHAKSPER Book Review Panel; and 
  • You can read about SHAKSPER Netiquette and how to cite SHAKSPER;

At the Scholarly Resources tab—http://shaksper.net/scholarly-resources

  • You can find my “Selected Guide to Shakespeare on the Internet”; 
  • You can find the SBReviews, the SHAKSPER Book Reviews; 
  • You can find the past SHAKSPER Roundtable Discussions; 
  • You can find papers from SHAKSPER members seeking critical advice; 
  • You can find the SHAKSPER Library of Essays and Reference Files; and 
  • You can find my past Cook’s Tours and my Shakespeare Pedagogical Resources.


Then there are tabs to the Archive, Current Postings, and Announcements as well as a tab about PlayShakespeare, the site that hosts SHAKSPER.


I believe that there is much useful information available and worth a visit to the site if you have not been there or not been there lately. 

Heminges and Geeinges


The Shakespeare Conference: SHK 23.0375  Friday, 10 September 2012


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

Date:         September 10, 2012 1:20:57 AM EDT

Subject:     Heminges and Geeinges


Commentary on Shakespeare’s text is often accompanied by mention of the 1623 Folio blurbs attributed to the players John Heminge(s) and Henry Condell. The understandable yen is to reconcile opinions to their statements (which are not altogether clear) but general readers don’t always have all the relevant information. 


All agree that Ben Jonson wrote the prefatory matter but the players’ remarks may be taken at something like face value: “It had bene . . . worthie to have bene wished, that the Author himselfe had liu’d to haue set forth, and ouerseen his owne writings . . .”


True, to some extent; Shakespeare was far removed from these texts. Recent intimations of his intentions to publish (Erne) are not supported by the evidence. Yet had the Author overseen publication we may have cause to regret the loss comprising the many interesting mysteries and textual puzzles feeding a halting industry.


“His mind and hand went together: And what he thought, he vttered with that easinesse, that wee haue scarse receiued from him a blot in his papers.”


The great variety of critics is doubtful; “fair copy” isn’t evidence of ease (or unease) and Hand D doesn’t seem a work of “the best for blotting.” Ben & Co. meant only another slight deception, though the blots thicken in Jonson’s posthumous Timber: or Discoveries:


“I remember, the Players have often mentioned it as an honour to Shakespeare, that . . . he never blotted out line. . . . I had not told posterity this, but for their ignorance, who choose that circumstance to commend their friend by . . . .”


I won’t parse Jonson (depends on what ‘this’ is, what ‘is’ is, etc.); but whatever else is meant by the “nostrati,” Ben ingenuously(?) restates the players’ repeated claim. Further, Jonson says he wouldn’t have ‘told posterity’ something, had Shakespeare’s friends not been impressed by ‘that no blots circumstance.’ This part of the Folio address then seems to have a real basis; it must refer fair copy, whether or not the players knew it. (But not “foul papers with deletions unmarked,” as Honigmann. Would H & C choose that troublesome circumstance to commend their friend by?)


So what happened to the texts subsequent to delivery? Foul papers (rough drafts) don’t come in play without denying testimony (twice over) reported of the players. Moreover,


“But ... his Friends ... [no ‘...’ significance here] haue publish’d them, as where (before) you were abus’d with diuerse stolne, and surreptitious copies, maimed, and deformed by the frauds and stealthes of iniurious impostors, that expos’d them;”


Many Shakespearean (& non-) plays were corruptly published: Hamlet, R&J, Orlando, Faustus. There’s no denying the truth of their statement; the question is, where does it stop? Corrupt texts; F texts printed from quarto (whole or part); and revised quartos all testify to a limited supply of plays in the clean form said to have existed. Even the “mind & hand” candidates are downgraded to rough drafts.


My hypothesizing tends toward F texts more deformed than has been supposed; corruption comes in different sizes. Shorthand reporting—if no mission impossible; if we choose to accept it—is stealing, stealthy, and injurious. But it can be repaired: “euen those, are now offer’d to your view cur’d, and perfect of their limbes; and all the rest, absolute in their numbers, as he conceiued the[m]."


Cured, perfect, and as he conceived them, they’re not. Those are fibs. But is “even those” a reference to all the Folio texts? Surely not, we assume. And yet I wouldn’t draw the line at the traditional bad quartos. I get two important inferences from Bordox: 1) That a job so well done could have been repeated many times; and 2) That no performance (as now) was necessarily immune to recording. When Heywood suggested his play of Elizabeth (If You Know Not Me) was taken by shorthand he notes that “at first” it was well performed. But he was ashamed of the quarto, “scarse one word trew.” Much of the error must be from a bad performance. (As a lot of the text is technically “true” I think Heywood was going cousin Jasper “scant one sentence trewe” one better). What would the quarto have been like if the play had been reported of a good performance or printed from fair copy? These questions might apply to plays of the King’s Men, who complained of corrupt piracies elsewhere.


Gerald E. Downs

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