Up-coming events, Summer and Autumn 2017

KiSS-iT Summer Autumn 2017 EditHere are the up-coming seminars, playreadings, symposia and conferences.

 

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John Gillies: The Conversational Turn in Shakespeare, Nov 23

Shakespeare ConversationOn Thursday November 23, 2017 John Gillies (Essex) will be giving a talk entitled ‘The Conversational Turn in Shakespeare’, where he studies two different senses of the the word ‘conversation’, one dominant and one emergent during Shakespeare’s time that has since become dominant while the former has fallen out of use. The seminar convenes at its usual place in the Gallery of the Rose Theatre, Kingston starting at 6 pm. This talk is free and open to everyone and anyone interested.

John Gillies is Professor in the Department of Literature, Film and Theatre Studies at the University of Essex. He lectured at the Shakespeare Institute, Macquarie University, The Australian National University, and LaTrobe University, before taking up an Australian Research Council Fellowship. He actively explores multimedia for pedagogical and research purposes. He has co-authored two multimedia packages: ‘Shakespeare in Japan: Deguchi Norio’, and ‘Performing Shakespeare in China. 1980-90’. The first of these is currently on the LaTrobe University web site, the second is currently in further production with his co-author, Ruru Li. In addition to various articles and book chapters, he is the author of Shakespeare and the Geography of Difference (1994); co-editor (with Virginia Mason Vaughan) of Playing the Globe: Genre and Geography in English Renaissance Drama (1998); and co-editor (with Ryuta Minami and Ian Carruthers) of Performing Shakespeare in Japan (2001).

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Marlowe and Shakespeare programme

MARLOWE AND SHAKESPEARE

Shakeslowe
KINGSTON SHAKESPEARE SEMINAR AND THE MARLOWE SOCIETY

ROSE THEATRE KINGSTON: NOVEMBER 17 / 18 2017

 

DAY ONE: MARLOWE AND SHAKESPEARE AT THE ROSE

09.30: Registration: Theatre Foyer

10.00: Lecture: The Auditorium:

Welcome: Robert O’Dowd (Rose Theatre Kingston)

Frank Whately (Kingston University): Edward Alleyn and the Rose

Chair: Richard Wilson (Kingston University)

11.00: Coffee interval: Rose Cafe

11.30: Panels on the Rose playhouse and iterary influence

Panel 1: The Auditorium

Harvey Sheldon (Rose Trust and Birkbeck):
The Rose discovered: Bankside’s first playhouse

Geoffrey Marsh (Victoria and Albert Museum):
Shakespeare in St Helen’s: 1593 -/or 1598

Nicholas Helm (Helm Architecture):
The Rose Revealed: A new role on today’s Bankside

Elspeth Graham (Liverpool John Moores University):
Northern Rose: Strange’s Men at Knowsley

Chair: Paul Menzer (Mary Baldwin University and Blackfriars Theatre, Staunton)

Panel 2: The Gallery

John Roe (York University):
Venus in the Ovidian poems of Marlowe and Shakespeare

Paul Brown (De Montfort University):
Marlowe, Shakespeare’s Tutor on the Henry VI plays

Giorgia de Santis (University of Rome Tor Vergata):
The Shadow of Faustus in The Tempest

Chair: Daniela Guardamagna (University of Rome Tor Vergata)

13.00: Lunch interval

14.00: Lecture: The Auditorium

Charles Nicholl (Sussex University): Marlowe and Shakespeare in Cheapside: Legal records, topographical traces

Chair: Robert Sawyer (East Tennessee State University)

15.00: Panels on the Rose repertoire and performance practice    

Panel 3: The Gallery

Warren Chernaik (King’s College, London):
Theatrical companies and their plays, 1586-1594

Chloe Preedy (Exeter University):
The Smoke of Battle: From Tamburlaine to Henry V

Chris Fitter (Rutgers University):
Art thou a King? Degrounding monarchy in The Massacre at Paris and Richard III

Chair: Stuart Hampton-Reeves (Central Lancashire University) 

Panel 4: The David Jacobs Room

Alison Findlay (Lancaster University):
Come gentle Ganymede and play with me: Boy actors in Marlowe and Shakespeare

Neslihan Ekmekcioglu (Çankaya University):
Gender Roles in Dido and Antony and Cleopatra

Adrian Blamires (Reading University):
‘Green World’ Staging: Shakespeare, Munday and Porter

Chair: Edward Paleit (City University)

16.30: Tea interval: Rose Cafe

17.15: Lecture: The Studio

Jean Howard (Columbia University): Playing History at the Rose

Chair: Alison Findlay (Lancaster University)

18.30: Conference drinks reception: David Jacobs Room

DAY TWO: MARLOWE AND SHAKESPEARE AS AUTHORS

9.30: Registration: Theatre Foyer

10.00: Lecture: The Studio

Gary Taylor (Florida State University):
Authorial Frames & Canonical Reigns: Henry VI & Not-Shakespeare

Chair: Laurie Maguire (Oxford University)

11.00: Coffee interval: Rose Cafe

11.30: Panels on co-authorship and orientalism

Panel 5: The Studio

Darren Freebury-Jones (Cardiff University):
Marlowe and Microattribution: Kyd’s hand in 1Henry VI

Marina Tarlinskaja (University of Washington):
Versification analysis for attribution: Shakespeare and Author X in Arden of Faversham

Ros Barber (Goldsmiths):
Call thy wits together: Marlowe and Co-authorship of Henry VI

Chair: Roy Eriksen (Agder University)

Panel 6: The Gallery

Matthew Dimmock (Sussex University):
Marlowe, Shakespeare and the Turk Play

Ladan Niayesh (University of Paris 7):
Revisiting Tamburlaine’s Weak Sons: Morocco and Aragon

B.J. Sokol (Goldsmiths):
The Jew of Malta and The Merchant of Venice: Temperament, Region and Religion

Chair: Matthew Birchwood (Kingston University)

13.00: Lunch interval

14.00: Lecture: The Studio

Brian Vickers (School of Advanced Study):
The Shakespearean Unity of Henry VI, Parts 2 and 3

Chair: Paul Menzer (Mary Baldwin University)

15.00   Panels on authorship and contemporary fictions

Panel 7: The Gallery

John Nance (Florida State University):
Marlowe and Shrew Taming

Roy Eriksen (Agder University):
Stylometrics and Authorship in The Taming of a Shrew

Gabriel Egan (De Montfort University):
Telling Shakespeare and Marlowe apart by function-word clustering

Chair: Patricia Phillippy (Kingston University)

Panel 8: The Studio

Lisa Hopkins (Sheffield Hallam University):
Debauchery in Deptford: Marlowe in modern fiction

Richard O’Brien (University of Birmingham):
How Many Deaths d’you want? Marlowe in film and fiction

Thea Buckley (Shakespeare Institute):
Christopher Marlowe and The Armor of Light: Fictional confrontations
and Marlovian Revivification

Chair: Paul Edmondson (Shakespeare Birthplace Trust)

16.30: Tea interval: Rose Cafe

17.00: Panels on co-authorship and performing Marlowe and Shakespeare

Panel 9: The Gallery

Rory Loughnane (Kent University):
Marlowe, Shakespeare, and the Idea of Early Authorship

Stephen Longstaffe (Cumbria University):
May I entreat thee to discourse at large: Dido as radio play

Marcus Dahl (Institute of English Studies):
Thomas the Doubter’s Guide to Marlowe: a brief evaluation of quantitative analyses
of Marlowe’s extended canon

Chair: John Gillies (Essex University)

Panel 10: The Studio

Andrew Dawson (Marlowe Theatre), Ricky Dukes (Lazarus Theatre), Kelly Hunter (Flute Theatre), Conrad Nelson (Northern Broadsides), Ken Pickering (Kent University), Ildiko Solti (Kingston University), Kimberley Sykes (RSC), Stephen Unwin (ex-Rose Theatre)

Chair: Frank Whately (Kingston University)

18.30: Round-Table Discussion on Marlowe and Shakespeare: The Studio

Gabriel Egan, Lois Potter, Gary Taylor, Brian Vickers and Stanley Wells

Chair: Richard Wilson (Kingston University)

19.30: Marlowe Society drinks reception: The Circle Foyer

20.00: 2017 Marlowe Society Lecture: The Studio

Robert Sawyer (East Tennessee State University):
Critical Reckonings: Marlowe and Shakespeare

Chair: Ken Pickering (Chairman, Marlowe Society)

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Roy Eriksen: “’Sbloud he speakes terribly”: Unpacking Marlowe’s Doctor Faustus (B), Nov 16

faustusAs a prelude to the Marlowe and Shakespeare conference, we have Roy Eriksen (Agder University) discussing Doctor Faustus on Thursday November 16. The talk challenges the current “orthodoxy” that sees the 1604 edition of Doctor Faustus as the most original version and relegates the 1616 edition to the status of a play revised by Birde and Rowley in 1602 and subjected to religious censorship in 1606. Eriksen argues that in terms of theme, iconography, and structure the so-called “disputed” sequences date of the B-version in 1588 and reveal clear signs of having been performed at Court. We convene in the Gallery of the Rose Theatre, Kingston at 6 pm. This talk is free and open to everyone!

Roy Eriksen is Professor of English Renaissance Literature and Culture at University of Agder, Kristiansand (Norway), formerly professor at Tromsoe, Bergen, and the Norwegian institute in Rome, Guest professor at École des hautes études, Paris, Harvard’s Villa I Tatti, Firenze, and Univeristà degli Studi di Padova (2017).

He publishes in English and Italian interdisciplinary Renaissance Studies) and co-ordinates the interdisciplinary research initiative EMMRG. In addition to The Forme of Faustus Fortunes (Humanities, 1987) and The Building in the text (Penn State, 2001), he has edited e.g. Pre-Novel Narrative (De Gruyter, 1994), Form and the Arts (Rome: Kappa, 2003) and Ashes to Ashes (Rome: L’Ateneo, 2006), Imitation, Representation and Printing (Fabrizio Serra Editore, 2009).

He is Series Editor of EMMS (Pisa and Rome‚ Serra, 2006 –). Formerly professor and editor of the Acta of the Norwegian Institute in Rome (Bretschneider) and Studies in Renaissance Art and Culture (Kappa; Rome, 1998–2002). Approaches to the Text: From Proto-Gospel to Post-Baroque (EMMS vol 9), and the Italian monograph L’Edificio testuale appeared in 2014 (Mimesis, Milano). The Mimesis of Change: Conversion and Peripety in Life Stories (EMMS vol 12) is forthcoming.

Recent articles focus on Love’s Labours Lost, Romeo and Juliet, The Taming of a Shrew, King John, Doctor Faustus(B), and As You Like It. Eriksen currently works on two monographs: Proteus: Marlowe and the Making of the New, and Metaphorike: Alberti and the Textual Transmission of Renaissance Urbanism. In 2017 he edited a special issue of Shakespeare: The Journal, entitled “Shakespeare and Architecture”.

Eriksen is an award-winning urbanist and a literary translator. His Doctor Faustus (produced by Davish Parrish) opened in Oslo in October 2017.

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Conference: Radical Mischief, 20-21 July 2018

Radical Mischief: A Conference Inviting Experiment in Theatre, Thought and Politics

20-21 July 2018
The Other Place theatre, Stratford-upon-Avon


Born of the pioneering collaboration between the University of Birmingham and the Royal Shakespeare Company (RSC), Radical Mischief offers an unmissable opportunity to be involved in an urgent and open conversation about what thought and theatre can do in our time at the RSC’s centre for research and development, The Other Place.

This conference invites participants to address the most important issues of our time in an open and exciting, inter-disciplinary and sector-crossing conversation. From the financial crash to war in the Middle East; from popular nationalism to fundamental questions about the value of both art and education: we live in a bewilderingly changing world. This conference will explore new ways in which we can work together not only to define but also to respond to its many challenges.

In the spirit of the new democracy we seek to promote, this event will experiment with the traditional conference form. There will be no uninterrupted, pre-written papers; instead, there will be two provocative plenary conversations, between high-profile figures with challenging views, intended to inspire open debate. The conference will then curate a series of focused conversations in different formats, including active participation and open space technology, led by artists, scholars and conference participants.

We are pleased to announce that the Conference will kick off with a conversation between Emma Rice and Professor Jonathan Dollimore.

The event will also feature an exciting mix of scholars, artists and journalists such as: Professor Dympna Callaghan, Nadia Latif, Professor Kiernan Ryan, Dr Catherine Silverstone, Hassan Abdulrazzak, Professor Julia Lupton, Anders Lustgarten, Lyn Gardner, Professor Peter Holbrook, Juliet Gilkes Romero, Dr Abigail Rokison-Woodall and Professor Richard Wilson.

For more information, or to register for the conference, visit:
www.birmingham.ac.uk/rmc2018

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Playreading The Two Noble Kinsmen, Nov 9 (KiRSe)

TNKtpCome and read the last play Shakespeare ever wrote. Not The Tempest.

A story with an interrupted wedding, fighting and romance in a wood outside Athens, madness, morris dancing and the intervention of the gods: Shakespeare wrote The Two Noble Kinsmen in partnership with one of the most talented of his successors, John Fletcher, the last in their series of collaborations. It’s based on Chaucer (The Knight’s Tale) and revamps a lot of situations and character-types from earlier in Shakespeare’s career.

Two major writers adapting a third, Shakespeare’s language in its latest and most complex phase, and a story you don’t know: what’s not to like?

The Two Noble Kinsmen reading will be in the Gallery of the Rose Theatre in Kingston at 6pm on Thursday, 9th November. You don’t need to know the play or have any acting experience, it will be a cold reading with parts chosen or allocated on the spot. Please bring a copy of the play with you if you can, but there will be a few copies available on the night.

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‘Idols of Nature: Causality of Fate, Baconian Philosophy and Shakespearean Tragedy’ with Timo Uotinen, Nov 2

Idols of nature bannerOn Thursday, November 2, the KiSSiT Work-in-Progress seminar features Timo Uotinen (Royal Holloway) giving a talk entitled ‘Idols of Nature: Causality of Fate, Baconian Philosophy and Shakespearean Tragedy’, where he links epistemology with ethics in discussing how the (self)destructive activity of Shakespeare’s tragic characters is enabled by the cognitive tendencies as described by Francis Bacon in his theory of the idols of the mind.

The seminar convenes at its usual place in the Gallery of the Rose Theatre, Kingston starting at 6 pm. This talk is free and open to everyone and anyone interested.

Timo Uotinen is a PhD candidate at Royal Holloway, University of London working on the philosophy of Francis Bacon in relation to Shakespearean tragedy. He has an MA in English from the University of Tampere and an MA in Modern European Philosophy from CRMEP, situated then at Middlesex, now at Kingston University. He is also webmaster and a Fellow of the Kingston Shakespeare project and organises KiSS(iT) events.

 

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Conference: Other Shylocks, London Nov 4 – 5, 2017

“Other Shylocks”

Presented by the Centre for Global Shakespeare, Queen Mary University of London, as part of “Shylock in and Beyond the Ghetto” supported by the European Commission under the Creative Europe programme and sponsored by the Romanian Cultural Institute.

PROGRAMME

The Octagon, Queens Building, Queen Mary University of London,
327 Mile End Rd, London E1 4NS

Saturday 4 November

10.00–10.15 Opening remarks

10.15-11.15 Shaul Bassi, Ca’ Foscari University, Venice
“Shylock’s Others”

11.15-11.30 Coffee

11.30-12.30 Richard Wilson, Kingston University
“Shylock Reasons With Mr Chesterton: Fascists in Stratford”

12.30-2.00 Lunch

2.00-3.30 Elena Pellone, Shakespeare Institute, University of Birmingham
“Shylock’s Ghosts”

3.30-4.00 Julia Pascal, playwright and director
“Shylock through the Eyes of a Warsaw Ghetto Survivor”

4.00-4.15 Coffee

4.15-4.45 Jasmine Seymour, Queen Mary University of London
“Shylock on Armenian Stages in the 19th century”

4.45-5.30 David Schalkwyk, Queen Mary University of London
“Shylock in South Africa”

Sunday 5 November

10.00-11.00 Alfredo Modenessi, National Autonomous University of Mexico
“‘My bond to the Jew’: The miseries and joys of translating a ‘classic’”

11.00-11.15 Coffee

11.15-12.00 Allesandra Bassey, King’s College London
“Shakespeare’s The Merchant of Venice and Shylock under the Nazis – continuation
or reinvention?”

12.00-1.00 Zeno Ackermann, Julius-Maximilians- Universität Würzburg
“‘Narrow Boxes’ –Memory Work, Gender and Identity Politics In Contemporary
German Productions of The Merchant of Venice”

1.00-2.30 Lunch

2.30-3.00 Calin Sabac and the VBC Association: Introduction to puppet show,
“Dreaming with The Merchant of Venice”

3.00-4.00 Puppet show: “Dreaming with The Merchant of Venice”

4.00-5.00 Panel discussion on “Dreaming with The Merchant of Venice”

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David Schalkwyk: ‘Unpacking the heart: Interiority, Theatricality and Love in Hamlet’, Oct 26

David SchalkwykOn Thursday Oct 26, Kingston Shakespeare is happy to host David Schalkwyk (Queen Mary), who is giving a talk entitled ‘Unpacking the heart: Interiority, Theatricality and Love in Hamlet‘. The paper approaches the problem of interiority in Hamlet by asking why it is impossible to say “I love you” in Claudius’s Denmark. We convene in Gallery of the Rose Theatre, Kingston starting at 6pm. The talk is free and open to everyone!

David Schalkwyk is Professor of English and Director of Global Shakespeare Queen Mary University of London.  He was formerly Director of Research at the Folger Shakespeare Library in Washington D.C. and editor of the Shakespeare Quarterly. His books include Speech and Performance in Shakespeare’s Sonnets and Plays (Cambridge, 2002), Literature and the Touch of the Real (Delaware, 2004), Shakespeare, Love and Service (Cambridge, 2008), Hamlet’s Dreams: The Robben Island Shakespeare (Arden Shakespeare, 2013), The Word Against the World: The Bakhtin Circle (Skene, 2016). His latest monograph, Shakespeare, Love and Language is forthcoming from Cambridge University Press in 2017.

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Playreading Pericles Prince of Tyre, Oct 19 (KiRSe)

220px-Pericles_1609Shipwreck, pirates, resurrection, a goddess, incest, plague, a brothel, riddling, knights in armour and a family dispersed across the Levant: in its day immensely popular, Shakespeare’s version of one of the great European stories (adapted in conjunction with George Wilkins) inaugurates the haunting last phase of his writing career.

We’ll be reading Pericles, Prince of Tyre at 6 pm on Thursday, October 19, in the usual KiSS venue, the Gallery at the Rose in Kingston. Just come along and choose a role to read. You don’t need to know the play, you don’t need any experience. Come and sample this later addition to Shakespeare canon–as is our theme this term.

There will be a very small number of copies available at each reading but it would help immeasurably if you can bring an edition with you. The Complete Oxford Shakespeare edited by Wells and Taylor in its second edition of 2005 includes all of the plays we’re reading this term.

pericles_jg_2056

Wayne T. Carr as Pericles in the Folger Theatre production (from Washington Post / Jenny Graham).

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‘TO LOSE NO DROP’: Retrieving the Shakespeare Canon

KiRSE 2017-18 collageEdit

There were thirty-six plays when Shakespeare’s colleagues collected them for the first time in 1623 in the Folio. In 2017 a new complete Shakespeare contains forty-one complete plays, and contributions to a couple more. In the four hundred years since the Folio, some half-a-dozen plays have been identified as partially Shakespearean. These aren’t wild or amateur suggestions, these are the plays for which strong arguments can be made that have convinced readers and editors and have been accepted into new editions. Sometimes he’s the senior partner, sometimes he’s just polishing a script, sometimes he’s the junior member of the team. But somewhere in each of the half-dozen there are ‘drops of that immortal man’, to adapt Garrick’s phrase, and we don’t want to lose any of them.

Mostly these plays are unknown territory to playgoers, playmakers and readers—or at least shadowy, dim territory. But all of them are good plays, some of them achieve greatness for a while, each of them enlarges our idea of who Shakespeare was and what he was about. Here’s your chance to meet them all.

Under the umbrella of the Kingston University Shakespeare Seminar series, there will be table readings of all six through autumn and spring (our third and fourth term of playreadings). Come along and choose a part, or just listen (reading’s more fun!). There will almost certainly be something here you don’t already know…….

All the readings will be in the gallery of the Rose Theatre in Kingston, starting at 6pm and reading straight through without cuts. The timetable for this term is

In the spring the programme will be Edward III, the additions to The Spanish Tragedy and the adaptation Double Falsehood, finishing with Arden of Faversham (dates to be announced).

There will be a very small number of copies available at each reading but it would help immeasurably if you can bring an edition with you. The Complete Oxford Shakespeare edited by Wells and Taylor in its second edition of 2005 includes all of the plays we’re reading this term.

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