Anərkē Shakespeare presents Shakespeare's Tragedy of Richard II

Anərkē Shakespeare

~ sometimes I believe in as many as six impossible things before breakfast ~

presents

Shakespeare’s Tragedy of Richard II

Tuesday 13 August - Saturday 17 August, 7.30pm and Sunday 18 August, 2.00pm

The Rose Playhouse, 56 Park Street, London, SE1 9AR

+44 (0)20 7261 9565

info@roseplayhouse.org.uk
To buy tickets click here

From 13th-18th August The Rose Playhouse, Bankside hosts the return season of Anərkē Shakespeare’s The Tragedy of King Richard II (in association with the Centre for Global Shakespeare at Queen Mary University of London).

Anərkē Shakespeare is a new, innovative theatre company that combines creative practice with scholarly research, inspired by the working conditions in which Shakespeare conceived his plays. Shakespeare’s “myriad minded” text is brought to life by a diverse, gender-blind, actor-led ensemble in an intensively short rehearsal period, without a director!

Shakespeare would not have known what a theatrical director was. Early modern theatre was a process of joint decision making in a collective enterprise. The actors staged and performed the plays. Together.

Anərkē Shakespeare creates raw, fast-paced theatre: all discoveries and decisions are made on the floor by the actors in relationship to each other and the text without the imposition of a single conceptual vision. We are committed to changing the way theatre is created and received, sharing Shakespeare’s text in new and democratically accessible ways, to empower the audience’s own critical engagement.

This timely rendition of Richard II, with its warring internal factions, troubles over Ireland, anxiety to keep England ‘Great’ and crucial deposition of the king, reflects the unstable political machinations of our time, in the historical venue of the Rose Theatre, site of the first Elizabethan theatre on Bankside, London. Preserving the foundations of the early modern playhouse, it is a liminal space—a palimpsest of place and time, like the company and the production.

The audience, together with the cast, will work imagination to bring to life the Sceptred Isle of England, in this film noir, naked-framed perspective of RICHARD THE SECOND – Shakespeare’s poetic masterpiece: a play of mirrors, balanced and hinged, in repeated chiasmus—heroes and anti-heroes, solitariness and community, substance and shadow.

In the hollow crown of a King keeps death his court, and inside this emptiness we find ourselves, facing Richard in his mirror. A haunting, rendering of the insatiable desire for power, the fragility of family, the dangers of vain and self-conceit and the tension between solipsism and shared grief.

Performing Restoration Shakespeare

Invitation to a Showcase at Shakespeare’s Globe, 17 July 2019

Come and learn about Restoration Shakespeare and watch live performances of music and scenes from two of the most popular Restoration-era adaptations of Shakespeare, The Tempest and Macbeth!

On the afternoon of 17 July, ‘Performing Restoration Shakespeare’—a research project funded by the Arts and Humanities Research Council—is holding a Restoration Shakespeare showcase in the Globe’s Sam Wanamaker Playhouse. You’ll get a behind-the-scenes look at our sold-out production of Restoration Macbeth, staged at the Folger Theatre (Washington, DC) in 2018. You will get unique insights from the Folger’s cast, stage director and musical director, and you will find out why Restoration-era adaptations of Shakespeare can be popular with audiences today. You’ll gain insights into the value of embedding scholars in the entire rehearsal and creative process. And you’ll hear first-hand accounts of how such collaborations unfolded in our production of Macbeth. Please join us for an afternoon of music, drama and discussion.

BOOKING: entry to the event is free, but we kindly ask that you register in advance: https://www.eventbrite.com/e/restoration-shakespeare-showcase-tickets-63111704808

For information on how to get to the venue, visit here


Event Schedule

16:00-16:05 Welcome (Will Tosh, Shakespeare’s Globe)

16:05-16:25 Research project overview: scope, method, activities and findings (Richard Schoch and Amanda Eubanks Winkler, project leaders)

16:25-16:40 Live performance of a musical scene from a Restoration version of The Tempest

16:40-17:00 Live performance of a monologue from Davenant’s Macbeth with Kate Eastwood Norris from the 2018 Folger production

17:00-17:30 Roundtable: Will Tosh, Globe; Robert Richmond, stage director, Macbeth; Bob Eisenstein, musical director, Macbeth

17:30-18:00 Q&A session

18:00-19:00 Informal drinks

Restoration Shakespeare

When the English civil war began in 1642, the theatres were shut down. When the theatres reopened in 1660 upon the restoration of the monarchy, few new plays were available. As a consequence, the theatre companies returned to the pre-1642 classics of Shakespeare and his contemporaries. But they did not perform Shakespeare’s plays the way that Shakespeare’s own company had done decades earlier. In the Restoration theatre, women (and not boy actors) played women’s roles; the new indoor theatres were equipped with a proscenium arch and moveable scenery; and song, music and dance featured much more prominently.

To read more about Restoration Shakespeare, visit how restoration playwrights reshaped Shakespeare plays


The Project

The project ‘Performing Restoration Shakespeare', led by Queen’s University Belfast, investigates how Restoration adaptations of Shakespeare succeeded in performance originally (1660-1714) and how they can succeed in performance today. It was launched in July 2017 in a successful partnership with Shakespeare’s Globe. Together, we held scholar-artist workshops and public performances in the Sam Wanamaker Playhouse of dramatic and musical scenes from Thomas Shadwell’s operatic Restoration-era adaptation of The Tempest (1674). Building on that initial success, we then collaborated with the Folger Shakespeare Library to hold scholar-artist workshops that led to a professional production of Davenant’s Macbeth (1664) in the Folger Theatre. The entire run was sold out before opening night and attracted wide press coverage, including both a feature article and a review in The Washington Post.

To find out more about the project, visit Restoration Shakespeare

Changing Histories - Rethinking the Early Modern History Play

- REGISTRATION NOW OPEN -

King’s College London, hosted by the London Shakespeare Centre, 4th–5th July 2019

Confirmed plenary speakers: Tracey Hill (Bath Spa University); Paulina Kewes (University of Oxford); and Emma Smith (University of Oxford)

Detail from ‘A True Chronology of all the Kings of England from Brute’ (c.1635)

We are delighted to announce that registration for Changing Histories: Rethinking the early modern history play is now open. Please click here to register.

The conference fees are:
• £25/day (Standard Rate)
• £15/day (Concessionary Rate: for students or unsalaried delegates)

Changing Histories is a two-day conference that aims to offer a reappraisal of the early modern history play.  Critical accounts of the “history play” have tended to concentrate on the categorization of plays in Shakespeare’s First Folio and to define the genre as the dramatization of medieval English monarchical history. However, early modern dramatists, audiences, publishers, and readers looked far beyond Shakespeare and these parameters.  Changing Histories seeks to explore the application of the term “history” during the period, question enduring critical views of historical drama, and examine the interconnections between texts representing a range of different pasts – including classical, biblical, pre-Christian British, European, Middle Eastern, and recent histories.

Changing Histories offers a rich programme of contributions from UK-based and international scholars, and includes keynote papers from Tracey Hill (Bath Spa), Paulina Kewes (Oxford), Emma Smith (Oxford), and Emma Whipday (Newcastle). It also features a practice-as-research performance workshop, led by James Wallace, Artistic Director of The Dolphin’s Back, which will explore how casting, staging, and reading practices can help shape our understanding of early modern historical drama.

A draft programme is available on our website.
Follow us on Twitter: @EarlyModernClio
Contact us by email: changinghistories@gmail.com

Changing Histories is generously supported by grants from the London Shakespeare Centre, the Faculty of Arts and Humanities at KCL, and the Society for Renaissance Studies.

 

Provisional Programme 

Day 1: 4th July

9:00 – 9:30 Registration

9:30 – 10:30 Keynote 1

Paulina Kewes (University of Oxford) – ‘Hamlet and the Staging of Danish History’

10:30 – 11:50 Panel 1: Originating Histories

Romola Nuttall (King’s College London) – ‘Mythical history and historic myth: Thomas Hughes’ The Misfortunes of Arthur’

Fraser McIlwraith (University of Oxford) – ‘An entrance for all disorders’: Macbeth and the Jacobean response to Robert Persons’s A Conference about the Next Succession to the Crown of England (1594/5)’

Sofie Kluge (University of Southern Denmark) – ‘Problematizing History: Lope de Vega’s Columbus-Play and Dramatic Historiography in Golden Age Spain’

11:50 – 12:50 Lunch

12:50 – 14:10 Panel 2: Playing Histories

Stephen Longstaffe (University of Nottingham) – ‘After Shakespeare: William Kemp and the medieval English history play’

Elizabeth Tavares (Pacific University Oregon) – ‘Men on Wire; or, The Queen’s Players and Their Extratheatricals’

Gerit Quealy (Independent Scholar) – ‘Duelling Histories: Insights and Insults from Philip Sidney to Thomas Nashe’

14:10 – 15:30 Panel 3: Speaking/Feeling Histories

Ann Kaegi (University of Hull) – ‘Traumatic Histories: Replaying the past on the English Renaissance stage’

Molly Clark (University of Oxford) – ‘Histories Transformed: Subversive verse form from Horestes to Edward IV’

David Hasberg Zirak-Schmidt (Aarhus University) – ‘“Sad Stories of the Death of Kings”: A Computationally Assisted Approach to Mourning in Shakespeare’s History Plays’

15:30 – 15:50 Coffee/Tea

15:50 – 17:10 Panel 4: Counselling Histories

Lorna Wallace (University of Stirling) – ‘Classical Counsel as Negative Example in Matthew Gwinne’s Nero’

Nicolas Thibault (Sorbonne Université) – ‘“What’s done was with advice enough”: Questioning the authority of the royal word in four late Elizabethan histories’

Nicole Mennell (University of Sussex) – ‘Natural History in the History Plays: The Case of the Lion King’

17:10 – 18:10 Keynote 2

Tracey Hill (Bath Spa University) – ‘“Bones of mee then I haue heard lyes": Civic history and the invention of Dick Whittington’

Wine reception



Day 2: 5th July

9:00 – 10:00 Keynote 3

Emma Smith (University of Oxford) – ‘True History: Tautology or Paradox?’

10:00 – 11:20 Panel 5: Fragmenting Histories

Jessica Chiba (Royal Holloway University) – ‘To the ending of the world’: The World-Historical perspective in Henry V’

Felicity Brown (University of Oxford) – ‘“Various historie”: The Misfortunes of Arthur’

Johannes Schlegel (University Würzburg) – ‘“Turning th’accomplishment of many years / Into an hour-glass”: Relating History in King Henry V’

11:20 – 11:40 Coffee/Tea

11:40 – 13:00 Panel 6: Stuart-ing Histories

Warren Chernaik (King’s College London) – ‘History as Warning: Middleton, Massinger, and the Censors’

Jitka Štollová (University of Oxford) – ‘Shaping Richard III after Shakespeare’

Martin Moraw (Boǧaziçi University) – ‘Middleton’s Aleatory Allegory’

13:00 – 13:50 Lunch

13:50 – 15:10 Panel 7: Sourcing Histories

Kit Heyam (University of Plymouth) – ‘Christopher Marlowe as historiographer: Shaping early modern narratives of Edward II’

Niall Allsopp (University of Exeter) – ‘Contingency and Consent: 1660s Heroic Dramas as History Plays’

Andrew Duxfield (University of Liverpool) – ‘“so honourable and stately a historie”: Tamburlaine the Great and Narrative Verse History’

15:10 – 16:40 Coffee/Tea and Workshop

The Dolphin’s Back: Henslowe’s Histories (led by James Wallace)

16:40 – 18:00 Panel 8: Performing/Refashioning Histories

Hailey Bachrach (King’s College London) – ‘Genre Trouble: How Female Characters Reshape Shakespeare’s Histories’

Jakub Boguszak (University of Southampton) – ‘Casting histories’

Hester Lees-Jeffries (University of Cambridge) – ‘“How it must have been”: History plays and the novels of Hilary Mantel’

18:00 – 19:00 Keynote 4

Emma Whipday (Newcastle University) – ‘“The most here present, know this to be true”: Domestic Tragedy as “Horrible” History’



Dinner (at Bryn Williams, Somerset House)






CALL FOR PAPERS [EARLIER POSTING - NOW UPDATED]

Critical accounts of the early modern “history play” have tended to use the classification of plays in Shakespeare’s First Folio to define the genre and align it with the dramatization of medieval English monarchical history. However, early modern dramatists, audiences, publishers, and readers looked far beyond these parameters. If our definition of the “history play” is expanded to incorporate a wider range of histories (including material that was believed to be historical), then the genre explodes both geographically and temporally. It would include, for example, classical history, biblical history, pre-Christian British history, European and Middle Eastern history, and recent history. This approach to the genre closely reflects how history was actually used, debated, and dramatized during the period, and draws attention to the connections and shared influences between plays engaging with very different historical subjects. It encourages a close examination of repertory patterns and evidence for lost plays (which have been overlooked in discussions of the history play) and raises crucial issues of reception, such as whether the agency for defining “history” ultimately lay with the individual spectators and readers of the plays. King Lear as an account of the lived past would appear very differently to a playgoer reliant on plays and ballads for their understanding for the past than it would to a reader of Camden’s sceptical Britannia.

Launch Event for the Oxford Handbook of Shakespeare and Dance

We’d like to invite you to the launch of The Oxford Handbook of Shakespeare and Dance (OUP, 2019) at Coventry University’s Centre for Dance Research on Wednesday 29th May from 2pm.

Dr Jennifer Nevile will give the keynote paper, entitled ‘Ballet Plots, a Pike Exhibition, Fireworks and Alchemy: An Early Seventeenth-Century Dance Master’s Notebook’.

Dr Anne Daye will lead a Shakespearean dance workshop.

Dr Lynsey McCulloch and Dr Brandon Shaw will introduce this new handbook, the first edited collection to examine the relationship between Shakespeare and dance.

It would be wonderful to see you there. If you have any queries or would like further information, please contact Lynsey McCulloch at ab3405@coventry.ac.uk.

For directions to the Centre for Dance Research at the ICE Building in Coventry

London Renaissance Seminar: ‘The very verge of his confine’: Cicero, Shakespeare and Attitudes to Old Age

Mandy Green Associate Professor and Senior Lecturer in Renaissance Literature at Durham University

Wednesday 13 March 2019, 4:30 pm to 7:30 pm in IAS Forum, G17, South Wing, Wilkins Building

Abstract:

Marcus Tullius Cicero (‘Tully’) reached the height of his popularity in the reign of Elizabeth I when he rapidly became one of the most frequently published, and one of the most frequently translated classical authors. Cicero’s works played an important role in the reform of the grammar-school curriculum and his reputation for eloquence was unparalleled. Thomas Newton, who translated Cato Maior de senectute (Cato the Elder: ‘On Old Age’), amongst other discourses by Cicero, acclaimed him as ‘that incomparable Phenix of al eloquence among al that ever wrate either before or since his dayes’ (1569). However, Cicero was admired not only for the elegance and rhetorical power of his prose works, but also for their content, since it was felt that his works of moral philosophy could be harmonised with Christian ethics with relative ease. This paper will explore De senectute’s key role in early modern debates about the nature of old age by focusing primarily on the representation of aging in Shakespeare’s King Lear. Since Cato the Elder was Cicero's spokesman, the paper will also draw on Plutarch's Life of Cato the Elder.

CALL FOR PAPERS: Perdition Catch My Soul - Shakespeare, Hell and Damnation

Saturday 8 December 2018, 10.00am
Nancy Knowles Lecture Theatre
Tickets: £55 (£45 Members and £25 Students)


Synopsis

This one-day symposium will examine the dramatization of early modern philosophies of hell and damnation. We will ask how Renaissance drama explored the hazards of judgement, damnation, and perdition.

• What did playwrights think it meant to sell one’s soul to the devil?
• What was their definition of sin?
• What role did the devil play in theatre – and in people’s everyday lives?

Papers are invited on (but not limited to) topics such as: hell, damnation, sin, the devil, the demonic, Satan, witchcraft, the supernatural, prophecy, and theological disputes .

Proposals for 20-minute papers should be sent to research@shakespearesglobe.com by Monday 15 October.

Poetry and Usury: Symbolic Economies in Shakespeare’s Sonnets

5:00 pm to 7:00 pm, 31 October 2018

This talk builds on Professor Bates' last book, On Not Defending Poetry (2017), in which an “economic” reading of Sidney’s Defence of Poesy suggests that, despite appearances to the contrary, Sidney was not in fact wedded to defending poetry on grounds of its profitability, after all, since this otherwise respectable, humanist argument is shown to reveal potentially unacceptable complicities with a capitalist ethos of accumulation and growth. Professor Bates' new project, still very much in its early stages, aims to explore ways in which Shakespeare goes on to probe Sidney’s alternatively aesthetic, “profitless” model of art by focusing on the question of usury in the Sonnets. Using this focus to intertwine three different forms of production – making money, making men, and making art – Shakespeare develops ideas that remain largely intuited in Sidney’s text, to show that, in its relation to capital, poesis necessarily involves both complicity and critique.

Catherine Bates is Research Professor in the Centre for the Study of the Renaissance at the University of Warwick. She works on English Renaissance poetry and has published five monographs on the subject: most recently, 'On Not Defending Poetry: Defence and Indefensibility in Sidney's Defence of Poesy’ (2017, Oxford University Press), and Masculinity and the Hunt: Wyatt to Spenser (Oxford University Press, 2013), winner of the British Academy Rose Mary Crawshay Prize, 2015. She is also editor of a number of edited collections, most recently A Companion to Renaissance Poetry (Wiley Blackwell, 2018). She has held a Solmsen Research Fellowship at the Institute for Research in the Humanities at the University of Wisconsin, Madison (2014/15) and a Mellon Fellowship at the Huntington (2017/18). For academic year 2018/19 she is Visiting Research Fellow at the IES.

This event is organised by UCL Early Modern Exchanges, which is part of the Institute of Advanced Studies.

Venue: Foster Court - Open to All

Room 307, Foster Court, Malet Place, London  WC1E 6BT

Organiser:
Early Modern Exchanges:  lucy.stagg@ucl.ac.uk
Room 307, Foster Court, Malet Place, London  WC1E 6BT

MaRSA CALL FOR PAPERS: "In the Margins"

Medieval and Renaissance Student Association California State University, Long Beach 

Deadline for submissions:  February 6, 2018
Contact email:  medren.csulb@gmail.com

The Medieval and Renaissance Student Association (MaRSA) of California State University, Long Beach is seeking individual papers as well as panel submissions for their graduate student conference. The conference will be held at the Karl Anatol Center on the campus of CSULB on April 19-20th, 2018.

This year’s theme, “In the Margins,” engages the spaces, both literal and theoretical, that have been allocated to the periphery of the medieval and Renaissance period. Thus, papers and topics that MaRSA would like to engage with embrace the many facets of medieval and Renaissance marginality. As an interdisciplinary conference, we welcome submissions from a wide array of disciplines focusing on the art, literature, and history of the period. Paper and panel topics might address issues (but are not limited to) the following:

• The relationship between marginalia and text
• Liminal spaces and/or identities in medieval and/or Renaissance narratives
• Peripheral and/or non-literary medieval and Renaissance texts
• The appropriation of medieval and Renaissance culture in contemporary political movements and/or popular culture
• Educational and pedagogical approaches to the marginalization of medieval and Renaissance texts
• The boundaries between body and soul as depicted in hagiographical literature and art
• Depictions of alterity in Shakespeare and/or other Early Modern Drama
• Sexuality and nontypical gender expression in medieval and Renaissance texts and/or culture

Presentations should run for approximately 15 minutes. Please submit abstracts of no more than 300 words along with a current CV by email to medren.csulb@gmail.com by February 6, 2018.

Colloquium on Richard II and Casting Diversity, at the Rose Theatre

Kingston Shakespeare Seminar with Global Shakespeare and Anərkē Shakespeare
March 24/25th 2018


Saturday March 24th  09.30 – 18.00

‘Political Theology and Shakespeare’s Richard II’

Richard Ashby (Royal Holloway University London): ‘Pierced to the Soul: The Sovereign Gaze in Richard II’

Thomas Cartelli (Muhlenberg University): ‘The Breath of Kings: Richard II in the Marlowe Aftermath’

Antonio Cerella (Kingston University): ‘The Sovereign Sacrifice: A Genealogy of Political Representation’

Guillaume Foulquie (University of Worcester): ‘Conceptions and Ideologies of Blood in Richard II’

Ronan Hatfull (Shakespeare Institute): ‘Hollow Crowns and Thrones: The Postmodern Celebrity Richard’

Eric Heinze (Queen Mary University London): ‘The Performance of Law’s Legitimacy in Richard II’

Edward Paleit (City University London): ‘Marlowe Never Dies: Deposing Sovereignty in Richard II’

Elena Pellone (Shakespeare Institute) and David Schalkwyk (Queen Mary University London):

‘Breath of Kings: Political and Theatrical Power in Richard II’

Ildiko Solti (Kingston University): ‘Power Play: The Audience as Pawn in Richard II’

David Souden (British Museum) and Richard Foster (Independent Scholar): ‘Pamela Tudor-Craig and Richard II: A Memoir’



Sunday March 25th 10.30–1.00

‘‘‘Let me Play the Lion Too’’: Casting Diversity in Shakespeare’

Actors from Anərkē Shakespeare: ‘Gender and race-blind casting, and working without a director’

Anthony Howard: ‘The British Black and Asian Shakespeare Project’

Martin Wiggins: ‘Shakespeare’s Original Practice Without a Director’


‘Richard II’ performed by Anərkē Shakespeare in the Rose Studio on March 24 @ 2pm & 7pm; March 25 @ 2pm


Register for all or part of this free seminar and performance
at the Rose Theatre Kingston
24-26 High Street, Kingston-upon-Thames, KT1 1HL
Box Office (10.00 – 18.00) 020 8174 0090 / rosetheatrekingston.org

'Shake the Superflux' - The 2018 Rose Shakespeare Lecture with Yanis Varoufakis

Main Auditorium, Rose Theatre Kingston
Mon 19 Mar, 8pm
In partnership with Kingston University

Yanis Varoufakis has emerged not only as an embattled finance minister and iconoclastic economist, but a life-long lover of Shakespeare. He called the Greek debt crisis ‘a Shakespearean tragedy’, reported that observing the European Union is ‘like watching Othello’, and compared the world’s leaders to Shylock and Macbeth. Those who sold out were 'like Richard III', or Lady Macbeth saying 'What's done cannot be undone'. His books are enlivened by Shakespeare quotations, like Lear’s cry to ‘shake the superflux' of wealth. But in this surprise new lecture, which promises to be a performance worthy of the Bard, he will also discuss the power of these 400-year-old plays ‘to show the heavens more just’.

Tickets can be bought here

Kingston Shakespeare Seminar: Infinite Jest: Shakespearean Afterlives

Rose Theatre Kingston, Saturday March 10 2018: 09.30 – 18.00

Richard Burt (University of Florida): ‘Posthumous Shakespeare: The Mourning After’

Paul Franssen (Utrecht University): ‘The King’s Man’

Susanne Greenhalgh (Roehampton University): ‘Revivifying Shakespeare in the Era of Digital Broadcasting’

Lisa Hopkins (Sheffield Hallam University): ‘DI Hamlet and DS Macbeth: Quoting Shakespeare in Murder Mysteries’

Patricia Novillo-Corvalan (University of Kent): ‘Borges’s Shakespeare’

Richard O’Brien (University of Birmingham): ‘Stress Positions: Poetics and Politics in Contemporary Verse Drama’


Register for this free event at the Rose Theatre Kingston
24-26 High Street, Kingston-upon-Thames, KT1 1HL
Box Office (10.00 – 18.00) 020 8174 0090 / rosetheatrekingston.org

Annual London Shakespeare Lecture: 'Shakespearean Comedy and the Curse of Realism'

Wed 7 February 2018, 18:00 – 20:00 GMT
University of Notre Dame, London Global Gateway, 1-4 Suffolk Street, London SW1Y 4HG

The seventh Annual London Shakespeare Lecture in Honour of Professor Sir Stanley Wells, at the University of Notre Dame (U.S.A.) in England organised in collaboration with the Shakespeare Institute and Shakespeare Birthplace Trust.

Michael Dobson (Director of the Shakespeare Institute, Stratford-upon-Avon, and Professor of Shakespeare Studies, University of Birmingham) gives this year's lecture, 'Shakespearean Comedy and the Curse of Realism':

Put them into Elizabethan dress and they may look merely quaint; put them into modern dress and their plots may look hopelessly implausible. What should Shakespeare’s comedies look like on the present-day stage? Did they really lose their potential for magic when the Elizabethan open stage gave place to the proscenium arch, and how successfully has that potential been reclaimed by directors who have chosen settings which suggest neither Shakespeare’s time nor ours but somewhere in between? After five decades of watching Shakespearean comedy, one of them largely spent reviewing it, Michael Dobson looks in particular at the recent fortunes of 'Love’s Labour’s Lost' and 'Much Ado About Nothing'.

Register for this free lecture and reception by Monday, February 5. Please direct any questions to lonconf@nd.edu.  To register go to Annual London Shakespeare Lecture

London Shakespeare Seminar

LSS: Senate Room, Senate House, Malet Street, London WC1E 7HU
Monday 22 January: 5.15-7pm

Speakers:

• Line Cottegnies (Paris Sorbonne), ‘Henry’s “Bruised helmet”: Armour and Weaponry in Henry V’
• Liam Semler (Sydney), ‘SysEd vs Ardenspace: The Evolution and Aims of the Imaginarium Learning Modules on the Shakespeare Reloaded Website’

All welcome. The session consists of two 25-minute papers, followed by shared questions and then a glass of wine.


London Shakespeare Seminars

This long-established annual seminar series provides a wide and significant intellectual/social resource for early modernists in the London area. Seminars will take place at 17.15 on Mondays in the Senate Room, Senate House, University of London, Malet Street.

Each seminar will comprise two 25-minute talks followed by shared questions. There will then be drinks and, for those who wish to join us, we will move on to dinner at a nearby restaurant.

Jointly organised by the London Shakespeare Centre and the Institute for English Studies, University of London. The details of all seminars are published by Institute of English Studies, Senate House, please visit their website here.

For more information and to be included on the LSS mailing list please contact Gemma Miller at this email address: shakespeare@kcl.ac.uk

CALL FOR PAPERS: "Exile and Migration" in the 2019 Shakespeare Jahrbuch

The 2019 volume of Shakespeare Jahrbuch will be a special issue on “Exile and Migration”. The editorial board invites essays on the following topics:

• Exile and migration in Shakespearean drama
• Shakespeare read / performed in exile
• Shakespeare across borders
• Transcultural migrations of Shakespeare’s works
• Exile and migration in the early modern age
• Shakespeare and the so-called “refugee crisis”
• …

Papers to be published in Shakespeare Jahrbuch should be formatted according to our style sheet, which can be downloaded from http://shakespeare-gesellschaft.de/en/jahrbuch/note-on-submission.html

Please send your manuscripts (of not more than 6,000 words) to the general editor of Shakespeare Jahrbuch, Professor Sabine Schülting (email: sabine.schuelting@fu-berlin.de), by 30 April 2018.

Shakespeare Jahrbuch is a is a peer-reviewed academic journal, which is listed in the European Reference Index for the Humanities and Social Sciences (ERIH Plus).

Assistant Professor in Shakespeare, Qatar University

Closing date: Open until filled

Assistant Professor in Shakespeare,
Department of English Literature and Linguistics,
Qatar University.


The Department of English Literature and Linguistics invites applications for an Assistant Professor of English Literature from candidates with specialization in Shakespeare. In addition to teaching introductory and upper-level undergraduate courses, the candidate will be expected to carry out excellent scholarly research, and contribute to the enhancement of the Department, College and University.

Qatar University Profile

Qatar University is the national institution of higher education in Qatar. It provides high quality undergraduate and graduate programs that prepare competent graduates, destined to shape the future of Qatar. The university community has a diverse and committed faculty that teaches and conducts research, which addresses relevant local and regional challenges, advances knowledge, and contributes actively to the needs and aspirations of society.

Qatar University is an intellectual and scholarly community characterized by open discussion, the free exchange of ideas, respectful debate, and a commitment to rigorous inquiry. All members of the University – faculty, staff, and students – are expected to advance the scholarly and social values embodied by the university.

College Profile

The College of Arts and Sciences (CAS) houses eleven departments, covering a wide range of undergraduate specializations in the Arts and Sciences including English Literature & Linguistics, Arabic Language, Humanities, Sociology, Social Work, Psychology, International Affairs, Policy, Planning & Development, Statistics, Chemistry, Mass Communication, Biological Sciences, Environmental Sciences, Material Science, and Sports Science. The College also houses five graduate programs in Environmental Sciences, Gulf Studies, Material Science, Statistics, and Arabic Language. Additionally, the College offers a Program of Arabic for Non- Native Speakers. There are also the newly established three research centers for Social Science and Humanities, Sustainable Development, and Gulf Studies.

It is worth mentioning that as members of QU, CAS faculty members have excellent opportunities to secure internal and external funding for their research ideas. Qatar National Research Fund (QNRF) is major source of research funding, with individual project funding exceeding 1 million USD (and 5 million exceptional projects) along with programs for student research funding. As the national and largest University in the country, Qatar University is the recipient of most QNRF awards, with many research-active faculty members able to win multiple grants.

Duties & Responsibilities

1. Teach courses in the area of expertise
2. Contribute to various committees at the Program, College, and University level
3. Contribute to the research profile of College through publications
4. Serve as student advisor
5. Other responsibilities as assigned by the Head of Department

Qualifications

1. Ph.D. in the relevant disciplinary area
2. Strong peer reviewed publication record
3. Teaching experience at tertiary level
4. Familiar with educational technologies used in the higher education sector
5. Willingness to work with teams
6. Awareness of working with people from diverse backgrounds
7. Excellent written and oral communication skills

Required Documents

1. Current Curriculum Vitae
2. Statement of Teaching Philosophy
3. Research Plan
4. Contact details of three referees (physical and email addresses as well their telephone contact)
5. Academic transcript of the highest qualification
6. Any additional documentation deemed relevant to the application

Benefits

1. A three-year renewable contract
2. Salary is commensurate with experience
3. Tax-free salary
4. Furnished accommodation in accordance with QU HR policies
5. Annual round trip air tickets for faculty member and dependents in accordance with QUHR policies
6. Educational allowance for candidate’s children (eligible candidates only) in accordance with QU HR policies
7. Private health care and health insurance in accordance with QU HR policies
8. Annual leave in accordance with QU HR policies
9. End-of-contract indemnity

To apply for this position, please send your curriculum vitae plus all other requested documents to Dr Ross Griffin, Assistant Professor of English and Comparative Literature

CALL FOR PAPERS: Cultures of Mortality: Death on the Shakespearean Stage

1-3 December 2016
Shakespeare’s Globe

2016 sees the 400th anniversary of the deaths of Shakespeare, Francis Beaumont, the theatrical entrepreneur Philip Henslowe and the Spanish author Miguel de Cervantes. Globe Education is marking this memorable year with an international conference that explores death, rituals of dying and the experience of loss on the early modern stage.

This conference invites papers that explores these themes and more. It is particularly interested in:
rituals of death; artistic representation; shifting practices from Medieval to Renaissance/early modern; loss and bereavement; performativity of death- performing death on the early modern stage; commemoration: textual, artistic and dramatic; philosophical, religious and social attitudes to death and dying; wills and legacies.

Please submit a 150 word abstract/proposal tofarah.k@shakespearesglobe.com by 1st of March 2016

Farah Karim-Cooper
Head of Higher Education & Research
Globe Education
020 7902 1439

CALL FOR PAPERS: Shakespeare and European Theatrical Cultures: AnAtomizing Text and Stage

27 – 30 July 2017 University of Gdańsk and The Gdańsk Shakespeare Theatre, Poland http://esra2017.eu 

Seminars announcement http://esra2017.eu/wp-content/uploads/2016/02/ESRA_-_SEMINARS.pdf 

This conference will convene Shakespeare scholars at a theatre that proudly stands in the place where English players regularly performed 400 years ago. This makes us ponder with renewed interest the relation between theatre and Shakespeare. The urge to do so may sound like a commonplace, but it comes to us enhanced by the fact that in the popular and learned imagination alike Shakespeare is inseparable from theatre while the theatre, for four centuries now, first in England, then on the continent (Europe) and eventually in the world, has been more and more strongly defined and shaped by Shakespeare. Shakespeare has become the theatrical icon, a constant point of reference, the litmus paper for the formal, technological and ideological development of the theatre, and for the impact of adaptation and appropriation on theatrical cultures. Shakespeare has served as one of the major sources for the development of European culture, both high and low. His presence permeates the fine shades and fissures of a multifarious European identity. His work has informed educational traditions, and, through forms of textual transmit such as translation and appropriation, has actively contributed to the process of building national distinctiveness. Shakespeare has been one of the master keys and, at the same time, a picklock granting easier access to the complex and challenging space of European and universal values. 

Please send your abstracts and biographies to seminar organisers (and cc conference organisers at gdansk@esra2017.eu) not later than 31 January 2017. 

Organising committee, ESRA 2017: 

Prof. Jerzy Limon, convenor | University of Gdańsk and the Gdańsk Shakespeare Theatre 

Prof. Jacek Fabiszak, co-convenor | Adam Mickiewicz University in Poznań and the Polish Shakespeare Society 

Prof. Olga Kubińska | University of Gdańsk and the Polish Shakespeare Society 

Dr. Aleksandra Sakowska | The Shakespeare Institute (UK) 

Marta Nowicka | Conference Coordinator for the University of Gdansk 

Anna Ratkiewicz-Syrek | Conference Coordinator for the Gdansk Shakespeare Theatre 

You are now invited to submit papers for the following seminars: 

SEMINARS LIST 

1. Avant-Garde Shakespeares/Shakespeare in the Avant-Garde Conveners: Aleksandra Sakowska, The Shakespeare Institute (UK), Lucian Ghita, Clemson University (USA) 

2. “The accent of his tongue affecteth him:” “Accentism” and/in Shakespeare Conveners: Carla Della Gatta (University of Southern California, USA), Adele Lee (University of Greenwich, UK) 

3. “There are more things in heaven and earth”: Shakespeare’s philosophy, philosophy’s Shakespeare revisited Conveners: Katarzyna Burzyńska (Adam Mickiewicz University in Poznań), Annie Martirosyan (Independent scholar, Armenia) 

4. “You must needs be strangers”: Shakespeare and the Scenography of Mobility Conveners: Miguel Ramalhete Gomes (University of Porto, Portugal), Remedios Perni (University of Murcia, Spain), Christian Smith (University of Warwick, UK) 

5. Shakespeare and Translation for the Stage Conveners: Madalina Nicolaescu (University of Bucharest), Marta Gibinska (Jagiellonian University) 

6. ‘The strangers’ case’ and the ‘tracks’ of performance Conveners: Boika Sokolova (University of Notre Dame – USA / London Global Gateway), Janice Valls-Russell (Research Institute for the Renaissance, the Neo-Classical Era and the Enlightenment (IRCL), University Paul-Valéry Montpellier 3 and the French National Centre for Scientific Research (CNRS), France) 

7. Anatomizing Shakespearean Myth-making: Game of Thrones Conveners: Thea Buckley (The Shakespeare Institute and the RSC, UK), Paul Hamilton, Independent scholar (USA), Timo Uotinen (Royal Holloway, UK) 

8. Shakespeare and European Writers: Inspiration, Resistance, Authority Conveners: Juan F. Cerdá (University of Murcia), Ángel-Luis Pujante (University of Murcia), Rui Carvalho Homem (University of Porto) 

9. Staged on the Page: Transmedial Shakespeare in Theatre and Visual Arts Conveners: Anna Wołosz-Sosnowska (Adam Mickiewicz University, Poland), Megan Holman (Northumbria University, United Kingdom) 

10. Race in European Theatrical Cultures: Border Crossings and Hybrid Identities Conveners: Christy Desmet and Sujata Iyengar, University of Georgia (USA), Krystyna Kujawińska-Courtney, University of Łódź (Poland) 

11. The name of action: actors of Shakespeare and Shakespearean actors Convener: Miranda F Thomas (Shakespeare’s Globe and University of Greenwich) 

12. Shakespeare and Music Conveners: Michelle Assay (Université de Paris Sorbonne, France/Canada/Iran), David Fanning (University of Manchester, UK), Christopher Wilson (University of Hull, UK) 

13. Shakespearean Drama and the Early Modern European Stage Conveners: Lukas Erne (University of Geneva), Ton Hoenselaars (Utrecht University) 

 

14. He do Shakespeare in Different Voices: The use of Regional Accents and Dialects Conveners: Lisa Hopkins (Sheffield Hallam University), Domenico Lovascio (University of Genoa) 

15. Magic through ritual objects and stage props: Early Modern practices and Modern adaptations Conveners: Pierre Kapitaniak (University of Montpellier), Natalia Brzozowska (Kujawy and Pomorze University in Bydgoszcz) 

16. Shakespeare and the Politics of Location Conveners: Magdalena Cieślak (University of Łódź), Francesca Rayner (Universidade do Minho) 

17. The influence of Shakespeare’s tragic dramatic approach on European thought on justice Conveners: Reina Brouwer (University of Leiden, Campus The Hague, The Netherlands), Zsuzsánna Kiss (Károli Gáspár University of the Reformed Church Budapest) 

18. Staging Utopias: Shakespeare in Print and Performance Conveners: Delilah Bermudez Brataas (Norwegian University of Science and Technology), Anna Kowalcze-Pawlik (Wyższa Szkoła Europejska, Kraków, Poland) 

19. Shakespeare in performance in digital media Conveners: Urszula Kizelbach (Adam Mickiewicz University in Poznań), Imke Lichterfeld (University of Bonn) 

Download seminars list here to find out more! http://esra2017.eu/wp-content/uploads/2016/02/ESRA_-_SEMINARS.pdf 

Confirmed PLENARY LECTURES: 

Professor Małgorzata Grzegorzewska, University of Warsaw Professor 

Diana Henderson, MIT Professor Peter Holland, University of Notre Dame Luc Perceval, the Hamburg Thalia Theatre 

Confirmed PANELS and roundtables: http://esra2017.eu/general-information/panels/ 

The conference takes place during the 21st International Shakespeare Festival http://festiwalszekspirowski.pl/en/home-2/festival/ at the Gdansk Shakespeare Theatre http://www.bbc.co.uk/news/entertainment-arts-29201993

Shakespeare, The Earls of Derby & the North West

An International Symposium with leading scholars of Elizabethan and Jacobean theatre culture, marking the 400th anniversary of the death of William Shakespeare, Knowsley Hall. 

19th October, 2016

To purchase tickets, visit Shakespeare Symposium or call 0151 489 4827

This symposium is being held at Knowsley Hall, tickets are £75 and include; refreshments throughout the day and a 2 course hot and cold buffet lunch. Places for this event are limited and can be booked online by clicking here.

PROGRAMME

9.00am - Registration 9.20am - The Earl of Derby: Welcome

9.25am - Dr Stephen Lloyd (Curator of the Derby Collection and Chair of the morning Session)


SESSION 1: SHAKESPEARE

9.30am - Professor Richard Wilson (Sir Peter Hall Professor of Shakespeare Studies, Kingston University and the Rose Theatre): The Only Shake Scene in a Country: William the Conqueror

10.00am - Dr David George (Emeritus Professor of English, Urbana University, Ohio) The youthful Shakespeare: out of the shadows

10:30am - Anthony Holden (Writer and Biographer) The 1590s: Shakespeare’s formative years

11.00am - Coffee Break


SESSION 2: THE DERBY COMPANIES

11.30am - Professor Lawrence Manley (William R. Kenan Jr. Professor of English, Yale University, New Haven) Magical Plays of the Derby Companies

12.00pm - Dr Edel Lamb (Lecturer in Renaissance Literature, School of Arts English and Languages, Queen’s University, Belfast) Patronage and Plays: The Revival of the Children of Paul’s in 1599

12.30pm - Professor Sally-Beth MacLean (Professor Emerita of English and Director of REED, University of Toronto) The 6th Earl of Derby and his touring Players: an illustrated overview

1.00pm - Lunch

Chair for afternoon sessions: Professor Elspeth Graham (Professor of Early-Modern Literature, Liverpool John Moores University)

SESSION 3: LITERATURE, MASQUE & PERFORMANCE

2.00pm - Dr Vanessa Wilkie (William A. Moffett Curator of Medieval and British Historical Manuscripts, The Huntington Library, California) ‘To the Right Honorable...’: The Literary Patronage and Masque Culture of the Stanley Women

2.30pm - Dr Rebecca Bailey (Lecturer in English, School of Humanities and Social Sciences, Liverpool John Moores University) ‘Your name shall live / In the new yeare: as in the age of gold’: The Staging of Sir Thomas Salusbury’s Twelfth Night Masque, performed for the Stanley Household at Knowsley Hall in 1640/1, and its contexts

3.00pm - ‘Discoveries in Practice’: a short discussion with actors and director Professor Kathy Dacre on the first performance of the Knowsley Masque since 1641; part of the ‘Voicing Shakespeare’ research project at Rose Bruford College of Theatre and Performance

3.15pm - Tea

SESSION 4: SHAKESPEARE NOW IN THE NORTH WEST

3.30pm - Julian Bowsher (Senior Archaeologist, Museum of London Archaeology) The Playhouse in Prescot as seen from the London Theatreland

4.00pm - Patrick Spottiswoode (Director, Globe Education, Shakespeare’s Globe) Education and Shakespeare’s Globe

4.30pm - Dr Nicholas Helm (Helm Architecture, London) Shakespeare and Architecture: What sort of a Replica?: The Playhouse in Prescot

5.00pm - Discussion 5.30pm - Closing Remarks


Liverpool John Moores University

Kingston Shakespeare Seminar: Shakespeare and New Historicist Theory

Our first KiSS session on Thursday October 6 features Dr Neema Parvini discussing his book Shakespeare and New Historicist Theory, published by Bloomsbury in Arden Shakespeare’s Shakespeare and Theory series, coming out in January 2017. In our new format, the session will be an informal roundtable discussion with the author, chaired by Richard Wilson. We will convene at 6.30 pm at the Gallery of the Rose Theatre, Kingston. These sessions are free and open to everyone. See also the event page!

About Shakespeare and New Historicist Theory (from the publisher’s website):

Over the past three decades, no critical movement has been more prominent in Shakespeare Studies than new historicism. And yet, it remains notoriously difficult to pin down, define and explain, let alone analyze. Shakespeare and New Historicist Theory provides a comprehensive scholarly analysis of new historicism as a development in Shakespeare studies while asking fundamental questions about its status as literary theory and its continued usefulness as a method of approaching Shakespeare’s plays.

Dr Neema Parvini is a Lecturer in English Literature at the University of Surrey. He is the author of three books alongside the aforementioned Shakespeare and New Historicist Theory: Shakespeare’s History Plays: Rethinking Historicism (Edinburgh University Press, 2012), Shakespeare and Contemporary Theory: New Historicism and Cultural Materialism (Bloomsbury, 2012), and Shakespeare and Cognition: Thinking Fast and Slow Through Character (Palgrave, 2015). Moreover, check out his fantastic podcast series on Shakespeare and Contemporary Theory. 

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'Shakespeare and Italy' Seminars at the Victoria and Albert Museum

11 October to 22 November from 14:00-16.30.
The Lydia & Manfred Gorvy Lecture Theatre, Victoria and Albert Museum.

An inter-disciplinary course that brings together leading scholars from English Literature, Italian Studies, Translation Studies and Comparative Literature, to offer an in-depth view of the fascinating dynamics between Shakespeare and Italian literary culture from the Elizabethan era to the present day.

Arranged chronologically, the sessions address the wide range of plays which Shakespeare situates in Italy, including Much Ado about Nothing, The Winter’s Tale, Romeo and Juliet, The Merchant of Venice and Othello. Besides providing close textual analyses of the individual plays, the course considers how Italian authors, actors, and composers repurposed a selection of Shakespearean characters for contemporary audiences, including the troupes of the Commedia dell’arte, Giuseppe Verdi, the first Sicilian dialect theatre company, and the recent ‘Shylock Project’. 

The course thus combines the study of a variety of disciplines with more practical-based sessions — including a Commedia dell’arte mask workshop — to explain and explore the vibrant and shifting currents of transnational exchange between Shakespeare and Italy.

For bookings, please see here.

Shakespeare and Italy: From the Early Modern Period to Today.  Tuesdays 14:00-16:30

11 October – Dr Chris Stamatakis
Shakespeare’s Italy: An Introduction
Much Ado about Nothing

18 October – Olly Crick
Shakespeare and the Commedia dell’arte

1 November – Dr Eric Langley
Shakespeare and Venice
The Merchant of Venice

8 November – Professor Helen Hackett
Shakespeare and Amore
Romeo and Juliet

15 November – Professor Rene Weis
Shakespeare and Italian Opera
Verdi’s Macbeth and Othello

22 November – Professor Loredana Polezzi and Dr Enza De Francisci
Translating Shakespeare in Modern Italy