Shakespeare in Stratford-upon-Avon Undergraduate Summer School

The Shakespeare Conference: SHK 30.062  Thursday, 14 February 2019


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

Date:         February 13, 2019 at 2:32:31 PM EST

Subject:    Shakespeare in Stratford-upon-Avon Undergraduate Summer School



Shakespeare in Stratford-upon-Avon Undergraduate Summer School


This Undergraduate Summer School invites you to study Shakespeare intensively and rigorously through academic and practical work with the Shakespeare Institute and the Royal Shakespeare Company in Shakespeare's home town, Stratford-upon-Avon.



1-19 July 2019


We will explore the latest developments and the big questions in Shakespeare Studies, in areas including contemporary performance, textual and historical studies, and cultural studies.


How and why is Shakespeare performed today? How does a play make meaning in performance? What can we learn by studying plays in their historical context? What can Stratford tell us about Shakespeare, both as a historical playwright and as a contemporary cultural icon? Where do our modern texts of ‘Shakespeare’ come from, and why might that matter to modern readers, scholars or performers?



Valentine’s Day Greeting


The Shakespeare Conference: SHK 30.061  Thursday, 14 February 2019


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

Date:         Thursday, February 14, 2019


Subject:    Valentine’s Day Greeting



Shakespeare Theatre’s Simon Godwin Announces His First Season

The Shakespeare Conference: SHK 30.060  Wednesday, 13 February 2019


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

Date:         February 13, 2019 at 6:56:11 AM EST

Subject:    Shakespeare Theatre’s Simon Godwin Announces His First Season


From The Washington Post:


Shakespeare Theatre’s new head announces his first season, from ‘Much Ado’ to a James Baldwin play


Shakespeare Theatre’s new head announces his first season, from ‘Much Ado’ to a James Baldwin play


By Peter Marks

February 12 at 8:30 PM


That Simon is Simon Godwin. He has been lured by Shakespeare Theatre Company from the elite ranks of London’s National Theatre as successor to founding artistic director Michael Kahn, who departs after this season and decades of slaking Washington’s thirst for Shakespeare, and filling his stages with other worthy voices.


Godwin is still shuttling between the two cities, but on Tuesday, he announced the entries of the 2019-2020 season, his first: two Shakespeare plays that he will direct; a play by James Baldwin; contemporary takes on classics by Branden Jacobs-Jenkins and Lauren Gunderson; and a musical from London adapted by director Emma Rice.


“It’s a combination of vision, primarily, and pragmatism, in trying to understand where the economics are, what the audiences want to see,” Godwin said in an interview Tuesday. “There are a quite a number of things that I’m going to discover. We’re going on the ride together.”


Godwin’s planned itinerary is a good way to get a glimpse of his artistic mind. Well, maybe not quite as good as watching his recent directorial effort for the National, a richly textured “Antony and Cleopatra” with Sophie Okonedo and Ralph Fiennes that is being screened in American venues. But if his first season is any guide, the company’s latest personnel investment hints at some tantalizing possibilities.


For his inaugural Shakespeare at the Shakespeare, Godwin is going to stage a new version of a production he directed last year for the Royal Shakespeare Company: the infrequently revived “Timon of Athens.” He will retain the Timon he employed in his “re-gendered” staging, the acclaimed, American-born British actress Kathryn Hunter, and the rest of the cast will also be American. A few of the season’s offerings hint that Godwin intends to forge closer ties between the company and British theater.


“Timon” will start performances in February 2020 in the Lansburgh Theatre, on Seventh Street NW. And Godwin will conclude the season with the “great celebration of love” that is “Much Ado About Nothing,” with the play’s warring wits, Beatrice and Benedick, still to be cast. “Much Ado” will be produced in the larger, 774-seat Harman, an imposing space across from Capital One Arena on F Street NW that has proved to be a challenge for the company to satisfactorily fill. Godwin says he’s aware of the uphill struggle, both on the stage and in the house, and takes solace in words said to him about theater spaces by Nicholas Hytner, the National’s former artistic director, for whom he once worked: “Rather than have the scale define you, you define the scale.”


The season’s first show will be MacArthur fellow Jacobs-Jenkins’s “Everybody,” a retelling of the Christian morality play “Everyman,” which was written by an unknown author. “Here was this 15th-century medieval play that Shakespeare would have seen,” Godwin said, “and then we have an African American playwright saying what this could mean to us today.”


A family event is in the offing for the Harman at Christmastime: a new version of “Peter Pan” with music, by the American playwright Gunderson (“The Book of Will”) and directed by Alan Paul, who scored a hit last season with his “Camelot.” Early next year will also see a revival, directed by Whitney White, of James Baldwin’s rarely seen “The Amen Corner,” a mid-1950s play with gospel music that was successfully staged in 2013 at the National by Artistic Director Rufus Norris.


Also on the menu will be “Romantics Anonymous,” a play with music that Rice premiered in 2017, near the end of her tenure as head of Shakespeare’s Globe on London’s South Bank. Rice will again direct. Based on a 2010 French film, the work was hailed by Lyn Gardner in the Guardian as “a multifaceted gem, chockful of love.”


No doubt Godwin would enjoy seeing such phraseology applied to his latest ventures. “I want us to go to dark places,” he said. “But I also want people to feel the theater can be a place of euphoria and hope.”




CFP: Variable Objects

The Shakespeare Conference: SHK 30.059  Wednesday, 13 February 2019


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

Date:         February 13, 2019 at 11:41:15 AM EST

Subject:    CFP: Variable Objects


CFP: “Variable Objects”: Shakespeare’s Dispossessed Agency 

Editors: Valerie Fazel and Louise Geddes


We are seeking abstracts for a book collection that explores the impact and implications that a theoretical shift towards object oriented ontology and new materialism may have on the Shakespeare aesthetic. Shakespeare’s corpus, by virtue of a contested point of genesis that is both literary and theatrical, exists simultaneously in multiple iterations and as a result, acquires an agency that embraces posthumanism and non-correlative circuits of knowledge. Shakespeare exists in speculative space, becoming a locus of experiment, imagination, and possibility, a place for, and of, risk and opportunity. As a variable object, Shakespeare constantly fragments and reassembles itself in accordance with culture, politics, geographies, technologies, and ecologies, framing the conditions for human-text interaction. Shakespeare invites us to rethink the pathways through which knowledge is acquired and transmitted as well as consider how Shakespeare, in the twenty-first century, does not rely solely on the human subject’s centralizing agency in order to generate meaning. We particularly seek essays draw attention to Shakespeare and discourses of race, gender, sexuality, disability, and diasporic populations.  


To approach Shakespeare as a ‘thing’ transcends appropriative discourse, and draws attention to the dynamic forces of potentiality - both internal and external to the texts - that perpetuate Shakespeare in flux. We invite abstracts that consider how alternate subjectivities reassemble Shakespeare, or that investigate how nonhuman agency might reframe Shakespearean aesthetic. Papers might examine the non-causal networks that emerge within and across Shakespearean drama, the Shakespeare text as actant, and the concept of Shakespeare as an active agent in twenty-first century thought and encompass such methodological approaches as theories of performance, appropriation, digital (and other) networks, and gaming. 


Abstracts should be no more than 250 words in length, and accompanied by a 50-word  biography, due 15 March 2019. Final papers should be at minimum 5000-6000 words and no longer than 8000 words in length and are due late summer 2019. Please send abstracts to This email address is being protected from spambots. You need JavaScript enabled to view it..


Louise Geddes

Associate Professor of English

Adelphi University



Race in Routledge’s New Critical Idiom Series

The Shakespeare Conference: SHK 30.058  Wednesday, 13 February 2019


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

Date:         February 12, 2019 at 10:30:28 PM EST

Subject:    New Book: Race in Routledge’s New Critical Idiom Series


New Book: Race in Routledge’s New Critical Idiom series


Race, by Martin Orkin and Alexa Alice Joubin. London: Routledge, 2019; 252 pages


ISBN: 9781138904699


For 20% discount, enter code FLR40


Of special interest to Shakespeare and early modern studies scholars, Race addresses racialized thinking in Shakespeare and beyond from a global perspective. 


Race draws on culturally and historically diverse materials to examine the intersections of race and gender, whiteness, blackness in a global context, and race in South Africa, Israel, India, Europe, US, East Asia, and Asian America. From Black Lives Matter movements to #MeToo movements, the book close reads a wide array of examples from the Middle Ages to Renaissance to the twentieth century.  


If race is a central part of human identity, can one own or disown one’s race? To which community would a multiracial person, immigrant, or diasporic subject belong? What future is there for race as a viable analytical concept? The book argues that race is profoundly constituted by language and narratives. Race is a signifier that accumulates meaning by a chain of deferral to other categories of difference such as gender and class. 


In contemporary Anglo-European cultures, race often brings to mind people who are not white, while whiteness remains unmarked and serves as a benchmark category—as if white is not a race. The second feature in racial discourses is the alignment of a race-based social group with innate or inner qualities rather than class. Third, the focus on black and white sometimes obscures other groups within the United States, such that Hispanics, Latinos, Chicanos, and Native Americans often fall under the rubric of ethnicities rather than “race.” 


Table of contents




Part I: Fixing the fetters of race 


Chapter 1: Marking barbarians, Muslims, Jews, Ethiopians, Africans, Moors, or blacks 


Chapter 2: Pseudo-scientific markings of difference 


Part II: Recasting the fetters of race 


Chapter 3: Legislative, governmental, and judicial markings of difference 


Chapter 4: Slavery and race 


Part III: Loosening the fetters of face 


Chapter 5: Race and epistemologies of otherness 


Conclusion: race in the world






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