Workshop Theatre of John Marston's 'Antonio's Revenge'

The Playhouse Lab, the Oxford Marston, and The Malone Society

present

John Marston’s 

Antonio’s Revenge

a one-day conference

Workshop Theatre, University of Leeds – Saturday, 7 July 2018

This one-day conference will focus on Marston’s riveting revenge tragedy, an unfairly neglected jewel of late Elizabethan drama which resonates with Shakespeare’s Hamlet and other classic revenge tragedies of the period. The second part of a fascinating diptych preceded by the tragicomedy Antonio and Mellida, the play tells the story of the unfortunate lovers’ struggle in the Venetian court. Mellida’s father, the evil Piero, Duke of Venice, has murdered Antonio’s father, Andrugio, the Duke of the enemy Republic of Genoa. Andrugio’s ghost returns from beyond the grave to command his son to revenge his death. Mellida is imprisoned under a fabricated accusation of harlotry, and she dies of grief believing her lover is dead. Antonio, in disguise as a fool, prepares a masque that the Venetian court will never forget. This conference will be a very rare opportunity to see this superb play on stage, using David Lindley’s newly edited text for the Oxford Complete Works of John Marston.

Programme

9:30 am – Registration + tea, coffee, and pastries

10:30 am – script-in-hand performance with The Playhouse Lab ensemble, including students and staff at Leeds

1 pm – buffet lunch

2 pm – Panel 1: Antonio’s Revenge in Performance. Speakers: Perry Mills (Edward’s Boys, King Edward VI School), Harry McCarthy (University of Exeter), and Lois Potter (University of Delaware).

3:30 pm – Tea and coffee

3:45 pm – Panel 2: Antonio’s Revenge: Text, Context, and Afterlife. Speakers: David Lindley (University of Leeds), Janet Clare (University of Hull), and Richard Meek (University of Hull).

5:15 – wine and informal roundtable discussion

Registration: Full price: £15 Concessions: £10

The registration fee includes attendance to the performance and the academic sessions, as well as the two tea/coffee breaks, and a buffet lunch. (Please specify any dietary requirements in the box provided.)

REGISTRATION OPEN

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

Performing Restoration Shakespeare: Applications for Summer Workshop at The Globe

The AHRC-funded project ‘Performing Restoration Shakespeare’ (2017-2020) invites applications from UK and EU researchers (including PhD students in their second year or beyond) to participate in a scholar-artist workshop at Shakespeare’s Globe in July 2017. For this collaborative and practice-based event, we seek to recruit 10 researchers drawn from the disciplines of theatre history, musicology and Shakespeare studies. Selected participants will receive accommodation in London for 3 nights, subsistence, and up to £120 for travel expenses.

The selected researchers will work with performing artists (actors, instrumentalists, singers) in a 4-day workshop on Restoration versions of The Tempest, to be held in the Globe’s rehearsal space and in the Sam Wanamaker Playhouse from 10-13 July 2017. The sessions in the Wanamaker will be open to the public.

Through a combination of archival study and reflective creative practice, we will investigate how Restoration Shakespeare can be performed today in a way that understands the historical context of this distinctive performance genre and then uses that understanding to create meaningful performances for contemporary audiences. This workshop offers a unique opportunity for collaboration with researchers from cognate disciplines, performing artists in theatre and music, Globe staff, and the general public. Additionally, the workshop offers the potential for publication in an edited volume arising from the project as a whole.

‘Performing Restoration Shakespeare’ is jointly led by theatre historian Richard Schoch (Queen’s University Belfast) and musicologist Amanda Eubanks Winkler (Syracuse University). Our partners are Shakespeare’s Globe, the Folger Shakespeare Library and the Shakespeare Birthplace Trust.

To apply for a place in the workshop, please email a brief CV (2-3 pp) and a 500-word statement of interest to Dr Claude Fretz, Research Fellow (Queen’s University Belfast) by April 1st 2017. In your statement of interest please explain how you would contribute to the workshop and how participating in the workshop would benefit your research. For further information, please contact Dr Claude Fretz. We expect to notify all applicants of the outcome by April 15th 2017.

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

CALL FOR PAPERS: Shakespearean Communities

University of Portsmouth, 14th-16th April 2016

To mark the 400th Anniversary of Shakespeare’s death, the Centre for Studies in Literature and the Centre for European and International Studies Research at the University of Portsmouth are holding a conference on ‘Shakespearean Communities’ celebrating Shakespeare’s life, work and influence. A wealth of scholarship has explored Shakespeare and his contemporary world, where communities were being created, contested and redefined. The persecution of religious minorities, the discovery of the new world, the growing importance of the mercantile class and the spread of the printed text, tested and redrew ideas of community and fellowship. Subsequently, too, Shakespeare’s work has provoked and created new communities of audience and performers in a variety of formats, from the stage to the text to the screen. Indeed, Shakespeare continues to provide different ways in which academics and theatre practitioners can work with communities. The conference organisers, from the English Literature and History Departments at Portsmouth, aim to bring together scholars working on various aspects of Shakespeare’s - or Shakespearean - communities, to reassess the ways in which community helps us to think about/reassess the legacy of his work. Confirmed keynote speakers are Professor John Drakakis, Professor Russell Jackson and Dr Felicity Heal.

The conference is open to scholars at all academic stages and those working from a variety of disciplinary perspectives (Literature, History, Adaptation, Film Studies and beyond). We would also welcome submissions from theatre and visual art practitioners with an interest in ‘Shakespearean Communities’.

 We invite delegates to submit abstracts on all aspects of this theme, including but not restricted to:

• Early Modern Theatrical Communities
• Local Communities in Shakespeare’s England
• Religious Communities
• Legal communities
• National and/or ethnic communities
• Textual communities
• Communities of family and friendship
• Writing Communities: Shakespeare’s influence & afterlives
• Artists and Illustrators of Shakespeare
• Acting Communities: Performers of Shakespeare, past & present 

Please submit proposals of 250-300 words for papers of no more than 20 minutes to Dr Jessica Dyson, Dr Katy Gibbons, Dr Fiona McCall and Dr Bronwen Price at shakespearean-communities@port.ac.uk by 31st January 2016.

Thanks to the generosity of the Society for Renaissance Studies, some assistance for postgraduate / unsalaried postdoc travel expenses is available.

Globe Theatre Research in Action: Beds and Bedroom Scenes

Share the process of discovery as actors and practitioners explore performance in our indoor Jacobean theatre.

Our Research in Action workshops give you the chance to be part of our exploration into the indoor theatres of seventeenth-century London. The workshops mix theatre practice and scholarship in an engaging investigation of the Sam Wanamaker Playhouse’s theatrical capacities.

Using extracts from well-known and less-familiar plays, Globe actors and leading academics will test the dramatic and technical potential of our indoor space. Expect discoveries – and expect to be asked for your feedback!

Thursday 6 August

With Dr Will Tosh and Dr Elizabeth Sharrett.
Cast TBC.

Will Tosh and Elizabeth Sharrett (Shakespeare Institute, University of Birmingham) explore the performance of bedroom scenes in early modern drama. How did playwrights use the challenging intimacy of the indoor playhouse to highlight moments of seduction and delight, as well as threat, sexual violence and sexualised murder?

http://www.shakespearesglobe.com/education/events/research-workshops/research-in-action

LRS: The Performance and Experience of Domestic Service

Saturday 18th July 2015, 2pm-6pm

Room 538, Birkbeck, Malet Street, London, WC1E 7HX

In early modern England, domestic conduct literature, legal treatises, and state-sanctioned homilies propagated the ideal of the home as a self-contained system of government; the loyalty of domestic servants was therefore of political significance. Performances of domestic service onstage explored early modern anxieties and fantasies concerning the interference, surveillance, and potential insubordination of the early modern servant, and the conflicts of loyalty and illicit knowledge that domestic service entailed. This half-day symposium brings together historians, literary scholars, and actors to explore the relationship between the experience of servants in early modern England, and the representation of servants onstage. Talks will be illustrated by performances of depositions from church court records and scenes from plays.

2pm Welcome

2.05pm Laura Gowing (King’s College London), ‘Performing Service: Stories from the London Church Courts’ (with performances of depositions)

3.10pm Coffee break

3.25pm Catherine Richardson (Kent), ‘Work and Leisure: Domestic Behaviour and the Quotidian Spaces of Service’ (with performances of depositions)

4.30pm Performances of scenes from domestic tragedies

4.45pm Drinks

5pm Roundtable discussion, with all speakers and actors

5.45pm Final remarks

This event is organised by Emma Whipday (Oxford); please email emma.whipday@magd.ox.ac.uk with any queries.

The London Renaissance Seminar meets at Birkbeck, University of London to discuss topics in the culture of the Renaissance. Anyone with an interest in the Renaissance is welcome to attend. London Renaissance Seminar contact s.wiseman@bbk.ac.uk; mailing list contact: t.f.healy@sussex.ac.uk

The Oxford-Globe Forum for Medicine and Drama in Practice

The Oxford-Globe Forum meets twice a year, alternating between Shakespeare’s Globe and the University of Oxford. It brings together researchers and practitioners in medicine, theatre and academia to explore a designated theme.

The theme for October 2014 is Anatomy and Dissection. Papers are informal and are limited to 12-15 minutes; the aim is to enable discussion among different constituencies of interest.

Registration is required: the £15 fee includes a sandwich lunch and coffee.

To register, go to the calendar at www.gtc.ox.ac.uk/whats-on-calendar. Then click on 4 October.

To offer a paper, please send your proposed title and a brief abstract by September 15th to english.office@ell.ox.ac.uk (Inquiries may be made to this email address too.)

4 October 2014 at the University of Oxford, 10.00am-4.30pm
Sponsored by Globe Education and Green Templeton College, University of Oxford

Venue Address:
University of Oxford,
Green Templeton College,
43 Woodstock Road
Oxford, OX2 6SG

Liminal Time and Space in Medieval and Early Modern Performance

5th-7th September 2014, University of Kent

Plenary Speakers: Professor Carol Symes (Illinois at Urbana-Champaign) and Professor Andrew Hiscock (Bangor)

This interdisciplinary, cross-period conference explores the representation, effects and meanings of liminal time and space in medieval and early modern performance culture. Emphasising the inherently liminal and ephemeral nature of performance, it will consider space and time in conjunction across a range of performance events between the tenth and seventeenth centuries. Bringing together scholars working on medieval and early modern performance in its broadest sense, the conference will initiate cross-disciplinary, cross-period dialogues that explore the continuities and ruptures between cultural thinking in the two periods, and draw out the ambiguous, transitional and transitory aspects of both concepts. On the evening of Friday 5th September the Early English Performance Cultures and Contemporary Creative Practice session will explore the ways in which cultural and creative practices might both elide and emphasise spatio-temporal divisions. During this session, theatre practitioners and writers will present, discuss, and answer questions about their most recent work, all of which has engaged with early English performance culture and narrative. This event will be followed by a drinks reception and is open to the public.

BURSARIES: Thanks to the generosity of the Society for Renaissance Studies, we are able to offer two fee-waiving bursaries to postgraduate delegates working in the early modern period. If you fall into this category please email the organisers, giving your name, institution, a brief summary of your dissertation (c.100 words) and your supervisor’s name. The bursaries will be distributed to the first two postgraduates who apply.

INFO AND REGISTRATION: http://www.kent.ac.uk/english/research/conferences/liminaltimeandspace.html

ORGANISERS:

Dr Sarah Dustagheer - S.Dustagheer-463@kent.ac.uk
Dr Clare Wright - C.Wright-468@kent.ac.uk

CALL FOR PAPERS: NeMLA 2015 - Unexpected Affect in Shakespearean Drama

This panel will explore the ways in which Shakespearean drama delivers emotional intensity (passions, affectations, embodiment, etc.) in unexpected places. When might certain emotional reactions be surprising in Shakespeare's plays? Are there particular characters that share their feelings unexpectedly, yet with astonishing resonance?

The significance of this session is to explore whether, after four centuries of exposure, these can still be capable of emotionally shocking. In today’s academic climate, do Shakespeare's words have the potential to be so emotionally disturbing that students might/can/should expect a “trigger warning” on syllabi?

This panel will explore unexpected representations of affect in Shakespeare's works, including:

• affect in the comedies, including “comedies of humour”
• affect in unnamed characters
• affect in allusions
• affect through wordplay (punning, homonyms, and so forth)
• affect in prologues or epilogues
• affect as communicated by servants or children
• reviews of unexpectedly affective productions of Shakespeare on stage and screen
• exploring Shakespearean emotions in the classroom and online

This year applicants will be submitting their abstracts directly to the NeMLA site, so please allow time to familiarize yourself with the new format. Please send in abstracts for 20-minute presentations by September 15, 2014. Email erin.weinberg@queensu.ca with any and all questions.

CALL FOR CONTRIBUTIONS: 'Shakespeare and Dance'

A new edited volume: Shakespeare and Dance
Editors: Dr Lynsey McCulloch (Coventry University) and Dr Brandon Shaw (Brown University)

We are seeking potential contributors to an edited volume of essays on the subject of Shakespeare and Dance. Despite much academic interest in movement, materiality and the body – and the growth of dance studies as a disciplinary field – Shakespeare’s employment of dancing as both theatrical device and thematic marker remains under-studied. The reimagining of his plays as dance works is also neglected as a subject for research. This volume looks to examine Shakespearean dance in all its variety, with the objectives of stimulating interest in and producing conceptual schema relevant to this growing area of study.

The proposed volume will feature essays not only from literary scholars but also from dance historians, choreographers and practitioners, historical dance reenactors; music specialists, dance critics and performance theorists. Topics might include the following: early modern choreography; masque culture and influence; the jig, and dance as resolution; Shakespeare’s dance sequences; the early modern dancing body; music and dance; movement direction in Shakespearean performance; Shakespeare as dance within balletic and contemporary choreographies. We also welcome co-authored works, particularly those in partnership with dance practitioners.

After discussions with a prominent academic press, we aim to submit a full proposal in September this year. Please send an abstract of no more than 300 words, alongside a short biography, to Dr Brandon Shaw at brandon_shaw@brown.edu and Dr Lynsey McCulloch at lynsey.mcculloch@coventry.ac.uk by August 15th, 2014. Selected authors will be notified by August 31st, 2014. Completed essays of approx. 8000 words will be due mid-2015, subject to contract.

The Oxford-Globe Forum for Medicine and Drama in Practice: Amputation and Body Parts

The Oxford-Globe Forum for Medicine and Drama in Practice March 22 2014 at Shakespeare’s Globe 10.30am – 4.00pm

The Oxford-Globe Forum meets twice a year, alternating between Shakespeare’s Globe and the University of Oxford. It brings together researchers and practitioners in medicine, theatre and academia to explore a designated theme. The theme for March 2014 is Amputation and Body Parts. Speakers will include a theatre director, a plastic surgeon, actors and academics; the day will conclude with a workshop rehearsal of a scene from Robert Greene’s Selimus.  Papers are informal and are limited to 12 – 15 minutes; the aim is to enable discussion among different constituencies of interest.

Registration is free. Lunch will be available for all registrants at a modest cost.

To register, email ed.events@shakespearesglobe.com

To offer a paper, please send your proposed topic to
rebecca.c@shakespearesglobe.com

Sponsored by Globe Education and Green Templeton College, University of Oxford
shakespearesglobe.com/education

Performance of "Lady Jane Lumley, Iphigenia at Aulis (c. 1555)"

performed by The Rose Company, directed by Emma Rucastle
8.30 pm, Tuesday 9 July, 2013 at the Minghella Theatre, University of Reading

‘The Tragedie of Euripedes called Iphigeneia’ was first ‘translated out of Greake into Englisshe’ c.1555 not by a male classicist but ‘by Lady Jane Lumley’, as the title page of her script announces.

Lumley’s prose translation of the tragedy, where Iphigenia is to be sacrificed in Aulis so that the Greek ships can sail to Troy, emphasizes the heroine’s agency. Iphigenia transcends the arguments between her father (the Greek leader Agamemnon), and her mother Clytemnestra, declaring ‘I will offer my selfe willing to deathe, for my countrie’. At the same time, Lumley’s stark prose emphasizes Agamemnon’s cruelty and the raw pain of parting felt by the family. Her translation is daring in finding moments of dark comedy in the ludicrous situations faced by the protagonists. It also speaks out against a tradition of male, military valour, since Lumley’s Greek hero is Iphigenia.

The Rose Company was established in 2013 out of the love of classic and historical performance texts and a belief in gender justice. This first production represents their commitment to bringing historical texts to contemporary life.

Tickets £5 on the door. To book a seat for the performance, email Jan Cox

ESRA Shakespeare Conference 2013 | Shakespeare and Myth [Call for Papers]

MONTPELLIER (France)
Wednesday 26– Saturday 29 June 2013

LIST OF SEMINARS

1. Early Modern Nature: Shakespeare, Science and Myth
2. The Early Modern Reception of Shakespeare in Print and Manuscript: The Rise of Shakespearean Cultural Capital?
3. Local and Global Myths in Shakespearean Performance
4. “Myth” in Relation to Truth, fable, history, legend, folklore
5. Myth, Romance and Historiography
6. Mythical Performance and its Afterlife
7. Mythologies of Childhood
8. Protean Shakespeare: Adapting, Tradapting, Performing Early Modern Plays
9. Shakespeare and Classical Mythology: European Perspectives
10. Shakespeare, Myth and Asia
11. Shakespeare and the Myth of the Feminine
12. The Shakespeare Myth Reloaded: Demythologizing and Re-mythologizing Shakespeare Today
13. Staging the Shakespeare Myths, 2000-2012
14. Translating Myths and Mythologizing Translations

Deadlines for all seminars

Please submit an abstract (200-300 words) and a brief bio (150 words) by 1 October 2012 to the convenors of the seminar you choose. Full details are on the website.

All participants will be notified about the acceptance of their proposals by 1 November 2012.  The deadline for accepted seminar participants to send their completed paper is 1 April 2013.  Information about plenaries, registration costs and other practical aspects will be given in due
course.

http://www.um.es/shakespeare/esra/index.php
www.ircl.cnrs.fr
email: esraircl@univ-montp3.fr

Shakespeare, Music and Performance

An international conference to be held at Shakespeare's Globe 3-5 May 2013

To find out more or register go to: Shakespeare's Globe Conferences
For more information contact Farah Karim-Cooper 

Head of Research & Courses, Globe Education
020 7902 1439

Conference Schedule:

Friday 3rd May

9.30am-10.00am:

Coffee & Registration

10.00am – 10.30am: 

Welcome & Introduction

Professor David Lindley (University of Leeds) 

Dr Farah Karim-Cooper (Shakespeare’s Globe)

10.30am – 11.30am: 

KEY NOTE: Professor Linda Austern (North Western University) 

11.30am – 11.45am: Coffee Break 

11.45am – 1.15pm: 

PANEL - Music in the Shakespearean Theatre 

Simon Smith (Birkbeck)
Paul Faber (University of Leeds)
Katherine Hunt (London Consortium and Birkbeck)

1.15pm – 2.15pm: 

LUNCH 

2.15pm – 3.30pm: 

PANEL - Song
Professor Tiffany Stern (University of Oxford) 

Bill Barclay (Shakespeare’s Globe)

3.30pm – 3.45pm: 

Coffee Break 

3.45pm – 5.00pm: 

Composer Q&A 

Todd Barton (Composer and Sound Designer)

7.30pm – 9.30pm:
Early Modern Music Concert

The remainder of the conference schedule

Witnessing Early Drama: Spectating, from The Cycle Plays to Shakespeare

The Society for Renaissance Studies Annual Lecture

A free public lecture hosted by the Centre for Early Modern Studies, University of Aberdeen.
5.30 pm Thursday 28th February, 2013

‘Witnessing Early Drama: Spectating, from The Cycle Plays to Shakespeare’
Professor Greg Walker
(Regius Professor of Rhetoric and English Literature, Edinburgh)

Professor Greg Walker has written widely on late-medieval drama and poetry, Renaissance literature, the history of the stage in the period before the building of the professional playhouses, and the cultural consequences of the Henrician Reformation. He is currently Principal Investigator on the AHRC-funded 'Staging and Representing the Scottish Renaissance Court' project, with Professor Thomas Betteridge (Oxford Brookes University)

Venue: Meeting Room 1 (Rm 706), Sir Duncan Rice Library, University of Aberdeen

All welcome.

For more information or to reserve a place please contact the organiser Andrew Gordon: a.gordon@abdn.ac.uk

The Society for Renaissance Studies is a charitable body promoting the study of the Renaissance period. For more information on its activities and for details of membership go to: http://www.rensoc.org.uk/

Master Workshop: 'Editing and Performing Measure for Measure’ (at the Indiana University-Purdue University Indianapolis, USA)

To run alongside a new adaptation of Measure for Measure, The New Oxford Shakespeare will be running a Master Workshop, ‘Editing and Performing Measure for Measure’

Saturday, 23rd February 2013, 10am -1pm
Indiana University-Purdue University Indianapolis
Indianapolis, IN 46204

Prof. Gary Taylor, Prof. Terri Bourus, Dr. Rory Loughnane, Dr. Anna Pruitt & Special Guest Actor-Director Christopher Marino (Chicago)

In this workshop, participants will have an opportunity to discuss some of the various issues that arise in editing and performing Shakespeare’s plays with the on- site editors of The New Oxford Shakespeare. Topics include: early modern adaptation; editing drama as a multimedia art form; theatre as a form of research.

Numbers are restricted for this workshop, so please contact Lindsay Rosa at newoxfordshakespeare@gmail.com to reserve your place.

About Measure for Measure 
After the international success of The History of Cardenio, Hoosier Bard returns to the Fringe with a world-premiere double bill: Shakespeare's original Measure for Measure, set in Italy, uncensored, written in 1603, alongside the more familiar version, adapted in 1621 by “our other Shakespeare”, Thomas Middleton, set in Vienna. There will be free talkbacks after every performance with the director, Terri Bourus, and members of the cast. See the newly restored Italian version on Feb 21, 22, 23, and the Viennese version on Feb 28 or March 1, 2.

Hoosier Bard is the theatrical arm of The New Oxford Shakespeare project.

About The New Oxford Shakespeare 
William Shakespeare is the most influential writer in the English Language. Oxford University Press is long established as the most authoritative publisher of critical editions of literary texts. In 1986-7, a team led by Stanley Wells (CBE) and Gary Taylor produced a groundbreaking new edition of the Complete Works. This was the first edition of Shakespeare ever to publish edited texts of the Complete Works in both modern and original spelling, and to provide a complete discursive textual apparatus. Now, over 25 years later, an inter-generational team of leading scholars, adopting the latest advances in editorial theory and practice, is producing a wholly new edition of the plays and poems of William Shakespeare. This edition will be the standard-bearer for future generations of scholars, teachers, readers and performers.

Staging the Restoration: Aphra Behn's The Rover

Monday 17 September, 18.30-20.00, Hampton Court Palace, Surrey, KT8 9AU

The astonishing Aphra Behn (1640-89) was one of the first professional
female writers. The Rover, her darkly comic play of cunning courtesans
and flirtatious fops, was hugely popular in its day; indeed, Charles II
was such a fan that he commissioned a private viewing. In July 2012 it
was staged within the Baroque apartments at Hampton Court Palace in a
contemporary style, to explore where historical and modern ideas of
beauty intersect and conflict.

Join the play’s producer, as well as historical theatre expert Tom
Betteridge and HRP’s Live Interpretation Manager Chris Gidlow, for
this unique panel discussion, as they explore how they staged The Rover
for the 21st century, and what it can tell us about its enduring themes
of sensuality, love and lust.

Tickets cost £12 and include a drinks reception. For further
information and booking, please call 0844 482 7799 or see our website at
www.hrp.org.uk/adultlearning

Historicizing Performance in the Early Modern Period

‘When our first Mother […] stept out of her place but to speak a good 
Word of Worship, you see how she was baffled, and befooled therein; 
she utterly failed in the performance’ 

- John Bunyan, A Case of Conscience Resolved (1683)

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Quince.

A louer that kils himselfe, most gallant, for loue.

Bottom.

That will aske some teares in the true performing of it.

William Shakespeare, A Midsummer Night’s Dream (1.2.21-2)

_________________________________________________

Historicizing Performance in the Early Modern Period
at The John Rylands Library, Deansgate, Manchester, January 20, 2012

Plenary Speakers:

Professor Julie Sanders (Nottingham)

Professor Tiffany Stern (Oxford)

This one-day academic conference aims to bring together scholars working on all aspects of performance in the early modern period (taken broadly to include the fifteenth to the early eighteenth centuries). We intend to interrogate what performance and its related terminologies and practices might have meant to early modern readers, playgoers, and congregations; how performance shaped and/or undermined distinctions between private/public bodies and selves. Although drama is an essential point of reference for this discussion, we encourage that “historicizing performance” be taken as broadly as possible. Topics might include (but are not limited to):

- Plays and play-going
- Music and singing
- Public spectacles, ceremonies and architecture
- Ritual, devotional expression, spirituality / the sermon as performance
- Autobiography and Performative Texts

- Performing gender/ sexuality/ the domestic
- Performance and the performative in theory

Please email abstracts (400 words max.) for a 20 minute paper to Michael Durrant and
Naya Tsentourou at: Historicizing.Performance@manchester.ac.uk
Deadline for abstracts: September 23th, 2011
Notifications of acceptance to be sent out by October 14th, 2011

Updated: Historicizing Performance in the Early Modern Period

The John Rylands Library, Deansgate, Manchester
January 20, 2012

09.00 – 09.45 Registration and coffee

09.45 – 10.00 Welcome

10.00 – 11.00 Panel 1: Death and Ritual

• Maggie Vinter (John Hopkins University), ‘How to do things while dying: Volpone and the ars moriendi’
• Stephen Gordon (University of Manchester), ‘The Performance of Bad Death: The Strange Tale of the Shoemaker of Breslau’

11.00 – 11.15 Coffee Break

11.15 – 12.15 Panel 2: Music

• Liam Haydon (University of Manchester), ‘Performing Perfection: Milton and the Music of the Spheres’
• Dolly MacKinnon (University of Queensland), ‘If ever beene where bels have knell’d to Church’: The performance of parish bells in early modern England

12.15 – 12.30 Convenience Break

12.30 – 1.30 Keynote Lecture

• Julie Sanders (University of Nottingham), ‘Within the Castle Walls: Historical Sites as Performance at Kenilworth and Ludlow’

1.30 – 2.30 Lunch

2.30 – 3.30 Panel 3: Space

• Catherine Clifford (The Shakespeare Institute, University of Birmingham), ‘From Wood to Stone: Whitehall Palace, the Banqueting House, and the Performance of Architecture in Court Drama, 1581-1621’
• John Peacock (University of Southampton), ‘Architectural Performance: Inigo Jones and Bernini’

3.30 – 3.45 Convenience Break

3.45 – 4.45 Panel 4: Theatre and Ritual

• Alison Findlay (University of Lancaster), ‘The State of Ceremony in Macbeth’
• Brian Schneider (University of Manchester), ‘Extra –dramatic’ performance in early modern Prologues, Epilogues and Inductions

4.45 – 5.00 Coffee Break

5.00 – 6.00 Keynote Lecture

• Tiffany Stern (University of Oxford), ‘Bitter, Black and Tragical’: Tragic Peformance on the Shakespearean Stage

6.00 – 6.30 Drinks.

Registration: £10
Speakers and guests are invited to join us for dinner at a local restaurant; to book a place please let us know when registering (dinner not included in the registration fee).

The Society for Renaissance Studies has granted us bursaries to help postgraduate students with the costs of travel and accommodation. If you want to be considered for one of the bursaries, please let us know.

To book a place at this event please contact Michael Durrant and Naya Tsentourou at Historicizing.performance@manchester.ac.uk by 7th January 2012.

The event will be taking place at the Seminar Room of the historic building of the John Rylands Library at Deansgate. Due to limited space, please register early to avoid disappointment.

We hope to see you there!

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