University of Roehampton
Location: London
Salary: £34,172 to £37,008 inclusive of London Weighting Allowance, Pro Rata
Hours: Full Time
Contract Type: Contract / Temporary
Placed on: 29th January 2016
Closes: 22nd February 2016
Job Ref: RU00348
(Two year fixed term from 1st April 2016)
The University of Roehampton has a beautiful parkland campus, located in the heart of south-west London, and offers excellent facilities for staff and students.
We are looking for a Research Fellow in English & Creative Writing to undertake a significant piece of research during the tenure of an award in collaboration with the lead researcher. “Before Shakespeare: The Beginning of London Commercial Theatre” is a two-year research project funded by the AHRC on the first thirty years of the Elizabethan playhouses (c 1565-95). There will be significant archival work, aiming to produce a census of what we know about this period of theatre history and how we know it. There will also be administrative support relating to a number of practice and performance based experiments with Dolphin’s Back and Shakespeare’s Globe. A successful collaboration will result in named co-authorship of an article, essay collection and monograph.
We are looking for applications from candidates with a complementary academic background. Candidates should be highly motivated and willing and able to engage with this collaboration.
To find out more information about the role and what we’re looking for, visit the Working at Roehampton section of our website where you will find full details, how to apply, as well as further information about the benefits of working for us.
http://www.roehampton.ac.uk/Working-at-Roehampton/
The closing date for completed applications is: 22nd February 2016.
Interviews are expected to be held in late February or early March.
If you are interested in the post and would like to discuss the project further, please contact: Dr Andy Kesson andy.kesson@roehampton.ac.uk
The University is an equal opportunities employer.
Showing posts with label Elizabethan Stage. Show all posts
Showing posts with label Elizabethan Stage. Show all posts
CALL FOR PAPERS: European Women in Early Modern Drama
Convenors: Dr Edel Semple, University College Cork, e.semple@ucc.ie
Dr Ema Vyroubalova, Trinity College Dublin, vyroubae@tcd.ie
While England’s early modern drama presents us with a plethora of foreign female characters – women such as Franceschina, the eponymous villain in The Dutch Courtesan, Queen Katherine in Henry VIII, the displaced Bella-Franca in Four Prentices of London, and Tamora in Titus Andronicus – no single study has taken these pervasive and significant figures as its focus. This seminar seeks to redress this gap in existing scholarship by exploring representations of European women in the drama of Shakespeare and his contemporaries.
Building on work by critics including Ton Hoenselaars, Jean E. Howard, Lloyd Edward Kermode, Michele Marrapodi, Jean-Christophe Mayer, Marianne Montgomery, and Jane Pettegree, and drawing on recent developments in studies of gender, race, culture, and politics, this seminar aims to explore why and how early modern dramatists repeatedly fashioned female characters of distinct nationalities. How notions of gender and foreignness intersect and/or diverge in early modern English play-texts will be the central concern of the seminar.
In a range of Elizabethan and Jacobean plays, foreign women are depicted as valuable links to European nations, and as threatening apertures within the English nation. In Sharpham’s The Fleer, for instance, the Italian courtesans bring strange customs to London, while in The Patient Man and the Honest Whore, the Italian courtesan is accused of spreading disease across national borders. Conversely, in Henry V, the ‘wooing’ of Katherine is a moment for linguistic exchange and she is seen as the desirable conduit to unite England and France. Thus, the seminar will consider how the staging of foreign women may enable English dramatists and their audiences to engage in debates about international relations, to deliberate on racial anxieties, to play out strategies of integration or exclusion, and to imagine England’s future vis-à-vis the rest of Europe.
Furthermore, in considering such a diverse range of characters, the seminar seeks to uncover points of commonality and difference in representations of European women, and will consider whether these women – from different nations, with varied social, religious, economic, and political identities – constitute a distinct phenomenon in the drama of the period. We are particularly interested in papers discussing theatrical depictions of European women as agents of and conduits for social, sexual, political, economic, linguistic and cultural interchange.
The papers may examine, among other aspects, representations of European women in early modern English drama in relation to:
Please submit an abstract (200-300 words) and a brief biography (150 words) by 1 December 2014 to all seminar conveners. All participants will be notified about the acceptance of their proposals by 1 March 2015. The deadline for submitting the completed seminar papers (3,000 words) is 1 May 2015.
Dr. Edel Semple (School of English, University College Cork)
Dr. Ema Vyroubalová (School of English, Trinity College Dublin)
Email: europeanwomenESRA@gmail.com
Dr Ema Vyroubalova, Trinity College Dublin, vyroubae@tcd.ie
While England’s early modern drama presents us with a plethora of foreign female characters – women such as Franceschina, the eponymous villain in The Dutch Courtesan, Queen Katherine in Henry VIII, the displaced Bella-Franca in Four Prentices of London, and Tamora in Titus Andronicus – no single study has taken these pervasive and significant figures as its focus. This seminar seeks to redress this gap in existing scholarship by exploring representations of European women in the drama of Shakespeare and his contemporaries.
Building on work by critics including Ton Hoenselaars, Jean E. Howard, Lloyd Edward Kermode, Michele Marrapodi, Jean-Christophe Mayer, Marianne Montgomery, and Jane Pettegree, and drawing on recent developments in studies of gender, race, culture, and politics, this seminar aims to explore why and how early modern dramatists repeatedly fashioned female characters of distinct nationalities. How notions of gender and foreignness intersect and/or diverge in early modern English play-texts will be the central concern of the seminar.
In a range of Elizabethan and Jacobean plays, foreign women are depicted as valuable links to European nations, and as threatening apertures within the English nation. In Sharpham’s The Fleer, for instance, the Italian courtesans bring strange customs to London, while in The Patient Man and the Honest Whore, the Italian courtesan is accused of spreading disease across national borders. Conversely, in Henry V, the ‘wooing’ of Katherine is a moment for linguistic exchange and she is seen as the desirable conduit to unite England and France. Thus, the seminar will consider how the staging of foreign women may enable English dramatists and their audiences to engage in debates about international relations, to deliberate on racial anxieties, to play out strategies of integration or exclusion, and to imagine England’s future vis-à-vis the rest of Europe.
Furthermore, in considering such a diverse range of characters, the seminar seeks to uncover points of commonality and difference in representations of European women, and will consider whether these women – from different nations, with varied social, religious, economic, and political identities – constitute a distinct phenomenon in the drama of the period. We are particularly interested in papers discussing theatrical depictions of European women as agents of and conduits for social, sexual, political, economic, linguistic and cultural interchange.
The papers may examine, among other aspects, representations of European women in early modern English drama in relation to:
- social, sexual, or cultural encounters and interactions
- notions and theories of race, ethnicity, hybridity, and miscegenation
- misogyny and/or xenophobia
- political and/or economic power
- crime and transgression
- linguistic exchange (e.g. accents or multilingualism)
- religious and/or social identities and groups (e.g. refugees, economic migrants)
- early modern geography and cartography
- locations and their theatrical renderings
- travel, travellers, and mobility
- early modern staging (e.g. playhouses, costumes, or stage props)
- printing and circulation of play-texts
- source texts and/or dramatic genres
Please submit an abstract (200-300 words) and a brief biography (150 words) by 1 December 2014 to all seminar conveners. All participants will be notified about the acceptance of their proposals by 1 March 2015. The deadline for submitting the completed seminar papers (3,000 words) is 1 May 2015.
Dr. Edel Semple (School of English, University College Cork)
Dr. Ema Vyroubalová (School of English, Trinity College Dublin)
Email: europeanwomenESRA@gmail.com
Trick to Catch the Old One, by Thomas Middleton, at The Rose
Written by Thomas Middleton
Directed by Jenny Eastop
Presented by Mercurius
6th to 24th May 2014
All Performances at 7.30 pm - Sundays 3.00 pm (No Performance Sunday 11th ) No Monday performances
When young Witgood’s greedy uncle tricks him out of his inheritance he determines to get his own back by passing off his courtesan as a wealthy widow. But news of this wealthy widow’s arrival sends everyone scrambling to grab the willing courtesan and Witgood’s plot threatening to spin out of control.
Who the devil (or Old One) is amongst all these schemes and counter schemes is anyone’s guess…….
The Rose is an indoor archaeological site, it is advisable to dress with an extra layer as there is no heating. There are also no toilets so please use Shakespeare’s Globe just a few hundred metres away.
Please arrive 15 minutes before the production starts to pay for or collect your tickets.
Booking Information
Tickets Full £12 / Cons £10 (Friends of The Rose, OAP, Student or Equity – on presentation of ID) £9 Southwark Residence With Proof of Address
Book Office 020 7261 9565
Email boxoffice@rosetheatre.org.uk
Matthew Lyons interviewed director Jenny Eastop about the play, you can read his interview here.
Victoria and Albert Study Day: An Audience with Shakespeare
Saturday 3 May 2014, 11.00 – 16.30, Seminar Room 3
11.00 – 11.45 ‘Life on the Southbank’
Professor Andy Gurr, University of Reading
11.50 – 12.35 ‘Into the Playhouses’
Professor Andy Gurr, University of Reading
12.35 – 13.35 Lunch
13.35 – 14.20 ‘Audience Comforts and Goodies’
Professor Tiffany Stern, University of Oxford
14.20 – 15.05 ‘Stagecraft & Special Effects’
Dr Will Tosh, Shakespeare’s Globe
15.05 – 15.35 Tea and Coffee
15.35 – 16.20 ‘Before the First Act; After the Last’
Professor Tiffany Stern, University of Oxford
16.20 – 16.30 Q&A
£45, £35 concessions, £15 students Including V&A students
Call V&A Bookings 020 7942 2525 or visit www.vam.ac.uk/courses
11.00 – 11.45 ‘Life on the Southbank’
Professor Andy Gurr, University of Reading
11.50 – 12.35 ‘Into the Playhouses’
Professor Andy Gurr, University of Reading
12.35 – 13.35 Lunch
13.35 – 14.20 ‘Audience Comforts and Goodies’
Professor Tiffany Stern, University of Oxford
14.20 – 15.05 ‘Stagecraft & Special Effects’
Dr Will Tosh, Shakespeare’s Globe
15.05 – 15.35 Tea and Coffee
15.35 – 16.20 ‘Before the First Act; After the Last’
Professor Tiffany Stern, University of Oxford
16.20 – 16.30 Q&A
£45, £35 concessions, £15 students Including V&A students
Call V&A Bookings 020 7942 2525 or visit www.vam.ac.uk/courses
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.
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
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
Believing in Shakespeare: Faith and Doubt on the Elizabethan Stage
Workshop at the Shakespeare-Tage 2012 in Bochum
Dr. Felix Sprang, University of Hamburg, English Department:
felix.sprang@uni-hamburg.de
Dr. Christina Wald, University of Augsburg, English Department:
christina.wald@phil.uni-augsburg.de
See also: shakespeare-gesellschaft.de/publikationen/seminar.html
Shakespeare’s plays were conceived and first performed in a climate of religious and political change, when private beliefs always had a public dimension and when religious allegiance had literally become a matter of life and death for many men and women. Our seminar aims at re-assessing the roles of faith and doubt in the public arena of the Shakespearean stage. We are not interested in examining, once again, the question of Shakespeare’s own denomination, we would rather like to enquire into the configurations of belief on the Elizabethan stage:
- Do the plays by Shakespeare and his contemporaries support religious devotion or do they invite distrust and scepticism?
- How can faith be established, how can it be perceived and proven?
- When does faith have to be realigned or even recanted?
- Do the plays themselves require faith on a metatheatrical level, as Paulina famously demands in The Winter’s Tale?
- And in how far is it possible to differentiate between religious belief and the suspension of disbelief in the playhouse?
- In what ways do the plays relate to topical religious debates, be it at Shakespeare’s time or today?
- What stance do they take towards more universal metaphysical questions?
- And how do they envision non-Christian religion, which stance do they take, for example, towards Jewish and Muslim beliefs?
- How have specific theatrical (or filmic) performances dealt with the religious aspects of the plays – have they suppressed, emphasised, or altered them?
Our workshop plans to address these and related questions with a panel of six papers during the annual conference of the German Shakespeare Association, Shakespeare-Tage (20-22 April 2012 in Bochum, Germany), which will focus on “Faith and Doubt in Shakespeare’s Plays”. As critical input for the discussion and provocation for debate, panellists are invited to give short statements (of no more than 15 minutes) presenting concrete case studies, concise examples and strong views on the topic.
Please send your proposals (abstracts of 300 words) and all further questions by 15 November 2011 to the seminar convenors:
Dr. Felix Sprang, University of Hamburg, English Department:
felix.sprang@uni-hamburg.de
Dr. Christina Wald, University of Augsburg, English Department:
christina.wald@phil.uni-augsburg.de
See also: shakespeare-gesellschaft.de/publikationen/seminar.html
Space on the Elizabethan Stage, 1576-1599
30 March 2012, University of Leeds
Following the opening of The Theatre in 1576, an innovative relationship developed between the newly-permanent space of the stage and the physical place of the theatre. The performative possibilities were quickly grasped and exploited by the men who came to write for the professional theatres, as they experimented with new ways of staging space in the Elizabethan playhouses: men such as Thomas Kyd, Thomas Lodge, Christopher Marlowe, George Peele, Robert Wilson, and the young William Shakespeare.
We invite proposals for individual papers (max. 20 minutes) on the processes and factors which created a sense of space and/or place in the Elizabethan theatre – including the language of the play-text, the physical presence of the players and playgoers, the actual performance space, and the technologies of the theatre. Possible topics may include (but are certainly not limited to) the following:
Following the opening of The Theatre in 1576, an innovative relationship developed between the newly-permanent space of the stage and the physical place of the theatre. The performative possibilities were quickly grasped and exploited by the men who came to write for the professional theatres, as they experimented with new ways of staging space in the Elizabethan playhouses: men such as Thomas Kyd, Thomas Lodge, Christopher Marlowe, George Peele, Robert Wilson, and the young William Shakespeare.
We invite proposals for individual papers (max. 20 minutes) on the processes and factors which created a sense of space and/or place in the Elizabethan theatre – including the language of the play-text, the physical presence of the players and playgoers, the actual performance space, and the technologies of the theatre. Possible topics may include (but are certainly not limited to) the following:
- The relationship between the real space of the theatre and imagined space;
- The influence of real factors such as the presence of the audience or even the weather upon the construction of stage space;
- The theatrical representation of geographical difference;
- The material construction of place through props and costume;
- The role of genre in the creation of stage-space;
- Inter-textual geography and the transmission of poetic geography between texts.
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