Archive for March, 2011

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Fluellen Theatre Company

March 29, 2011

http://www.fluellentheatre.co.uk/

 

Peter Richards, the Artistic Director of Fluellen Theatre Company, a professional company based in Swansea and formed in 2000, has been in contact with Cardiff Shakespeare to give us a taster of things to come:

“You may be interested to learn that we will be staging a production of Cymbeline in October (it visits the Gate in Cardiff on October 13th) and we will be producing Othello in early 2012 (dates to be arranged). We are also staging a new play called Taffy Shakespeare a one-man show designed for Swansea-based comedian Kevin Johns which takes a wholly fictional (and, hopefully) very funny view of Shakespeare’s “ghost writer”. It opens in the Swansea Grand in August and we are now finalising tour dates.”

Find out more about the Fluellen Theatre  Company here.

 

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World Shakespeare Congress 2011

March 28, 2011



“The Ninth World Shakespeare Congress in Prague will mark the next phase in a journey through four continents. Beginning in Vancouver, this international conference has travelled every five years since 1971 to share Shakespearean scholarship, performance, and pedagogy at another great site: Washington D.C., Stratford-upon-Avon, Berlin, Tokyo, Los Angeles, Valencia and Brisbane. The culturally rich city of Prague, a new setting for the Congress in central Europe, offers a wonderful opportunity to engage in dialogue about Shakespearean reception both here and throughout the world.”

For details of the 9th World Shakespeare Congress, visit their website here.

Prof. Richard Wilson from Cardiff University will be co-organising a seminar on Global Shakespeare:



22. Global Shakespeare

Richard Wilson (University of Cardiff, UK)
José Manuel González (University of Alicante, Spain)

The 2011 World Shakespeare Congress in Prague provides an apt opportunity to reconsider the implications of the name Shakespeare gave his own theatre. The 400th anniversary of the first recorded performance of The Tempest also offers an appropriate occasion to examine the ways in which Shakespeare’s plays and poems engage with an emerging global economy. His wordplay on “the great globe itself” suggests that Shakespeare was fully conscious of the potential of “this under globe” as a model for this first global moment of international and multilateral exchange, and intended his own writing to “compass the globe”. Yet his texts are haunted by anxieties about “th’affrighted globe” and “this distracted globe” that hint at awareness of the limitations of a “globe of sinful continents”. So, to what extent was Shakespeare invoking a world culture when he called his playhouse the Globe? What were the assumptions “hid behind the globe” when Shakespeare named his stage? After 400 years of translation and reproduction in “states unborn, and accents” then unknown, what are the limits to Shakespearean universality? How does the process of transformation of local or regional phenomena into global ones and the reduction and removal of barriers between national borders affect the appropriations and adaptations of Shakespeare to the different cultures and spaces? And how do we read and see Shakespeare texts as they travel across time to different places, especially in relation to the seminar transnational focus?

“Global Shakespeare” will aim to revisit these questions in the light of Jacques Derrida’s comment that these works offer a virtual ideal for a global community: “Here the example of Shakespeare is magnificent. Who demonstrates better that texts loaded with history offer themselves so well in contexts very different from their time and place of origin, not only in the European twentieth century, but in Japanese or Chinese transpositions?” But Derrida then asked, “Is it possible to gather under a single roof the apparently disordered plurivocity” of the world’s Shakespeare reproductions: “Is it possible to find a rule of cohabitation, it being understood this house will always be haunted by the meaning of the original?” Between these theoretical parameters, “Global Shakespeare” will therefore also aim to reflect on the tension between historicist and reception-based criticism in contemporary Shakespeare studies, and the extent of what Robert Weimann has called Shakespeare’s “commodious thresholds”.

Possible themes to be explored therefore include universality, translation, toleration, hospitality, trans-national performance, multinational cinematic adaptations, protectionism, cultural taboos, religious fundamentalism, the global dispersal of the playwright’s work via the internet, the imaginative and intellectual construct of “the great globe itself”, and the collapse of the global and the local into the “glocal”.

“Global Shakespeare” invites participants to address these topics or other issues relating to Shakespeare and globalization. The seminar would be initially based upon circulated research papers, but which would also introduce significant texts to enable a full discussion of the ways in which ‘Global Shakespeare’ is experienced and produced.

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CFP KNOWN AND IMAGINED COMMUNITIES IN THE RENAISSANCE

March 25, 2011

SINRS ONE-DAY SYMPOSIUM

IN CONJUNCTION WITH THE BRITISH SHAKESPEARE ASSOCIATION KNOWN AND IMAGINED COMMUNITIES IN THE RENAISSANCE Saturday, July 16, 2011. AT UNIVERSITY OF STIRLING CALL FOR PAPERS I’th’ commonwealth I would by contraries Execute all things. For no kind of traffic Would I admit, no name of magistrate; Letters should not be known; riches, poverty And use of service, none; contract, succession, Bourn, bound of land, tilth, vineyard, none; No use of metal, corn, or wine, or oil; No occupation, all men idle, all; And women too – but innocent and pure; No sovereignty – ( The Tempest , 2.1.147-157) The debate about different kinds of society, both real and fictional, was intense and wide-ranging during the 16th century and into the 17th century. In addition to the two basic types of social formation that actually existed – absolute monarchy and republic – there were, from Sir Thomas More’s Utopia onwards, accounts of ‘fictional’ communities of the kind envisaged by Shakespeare’s Gonzalo in The Tempest. This symposium aims to address the various kinds of representation of actually existing communities, covering descriptions in texts such as Sir Thomas Smith’s De Republica Anglorum, Jean Bodin’s Six Books of the Commonwealth, or Fulk Greville’s A Treatise on Monarchy, and representations in Shakespeare’s Roman plays, and those of Jonson, and other early 17th century contemporaries, of the various stages and kinds of political formation from tyranny to empire; or in Shakespeare’s two Venetian plays, The Merchant of Venice and Othello, and Jonson’s Volpone, of republicanism. Questions such as: what binds a community together; how are its values formulated and transmitted; to what extent are these ties dependent upon ‘language’ and upon an ‘imagined’ collectivity of the kind proposed by commentators such as Benedict Anderson, will form part of the discussion. But the symposium will also consider ‘imagined’ communities in the fully fictional sense of the term and as exemplified in texts such as More’s Utopia but extended to early 17 th century writers of utopian fiction. For the purposes of the symposium the terminus ad quem will be the writings of Milton and Thomas Hobbes. Papers are invited for a one-day symposium on ‘Known and Imagined Communities in the Renaissance’, and proposals should be submitted to the following address by Monday 30 May, 2011; papers should be no longer than 15 mins. duration (10pp. double-spaced typed A4):

Professor J. Drakakis

Department of English Studies

University of Stirling

Stirling FK9 4LA

Scotland

 

Email: jd1@stir.ac.uk

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Paris conference: Shakespeare et les arts de la table

March 15, 2011

Johann Gregory (Cardiff University) will be heading to Paris tomorrow for the Congrès 2011 de la Société Française Shakespeare. The conference is focused on Shakespeare and the arts of the table.

Johann’s paper is entitled:

Shakespeare’s Troilus and Cressida:

viewing expectations as a matter of taste

W.R. Elton explains that Shakespeare’s Troilus and Cressida has “been estimated [to contain] twice as many images of food, cooking and related matters as in any other of its author’s works”. This may seem surprising, until we realise that the play utilises the language of food to create a poetics of expectation and taste. In the second act, Agamemnon says of Achilles:

all his virtues […]
Do in our eyes begin to lose their gloss,
Yea, like fair fruit in an unwholesome dish,
Are like to rot untasted.

The simile is part of a poetics that visualises spectatorship and expectation in culinary terms. Although Thersites’s performances are figured as a “cheese” to aid Achilles’ “digestion” that should be “served in to [his] table”, on the whole the drama is actually not consumed immediately by the audience. Rather, in a confusion of the senses, food becomes a visual metaphor for thinking an audience’s appetite for a play and other matters of taste. The audience is invited to watch Troilus and Cressida as a monster that eats up, in its mastic jaws, the notion of chivalry and “glorious deeds” that past versions of the story – in epic and romance – had been so keen to emphasise; it is these past traditions, the prologue promises, which “may be digested in a play”. The paper seeks to discover whether the play leaves us with “fragments, scraps, the bits, and greasy relics” of past literature, or if Shakespeare was cooking up something else.

 

Find out more about the conference here.

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MEMORI PAPER: Roy Eriksen

March 14, 2011





Roy Eriksen

(University of Agder at Kristiansand, Norway)

 

‘The Poem as Chapel:

The Phoenix and the Turtle

and the Shakespearean Baroque’

—–

This Thursday at 5.15pm. Find out more here.

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Shakespeare Workshop: hospitality and matters of taste

March 14, 2011

The Bean Eater, Annibale Carracci (1560-1609)

Coming Soon

Celtic Leaners Network (open day April 9th)

St David’s Hall, May 21st 2011, 10am-2pm

A workshop on Shakespeare: hospitality and matters of taste

“Come on, gentle my lord”, says Lady Macbeth to her husband, “Sleek o’er your rugged looks, be bright and jovial / Among your guests”. Like many of the bard’s works, Shakespeare’s Scottish play alerts us to the performative nature of hospitality, its ideals and potential dangers.

In this workshop we will examine the (troubled) art of hospitality in plays such as Macbeth, Twelfth Night and Troilus and Cressida, and the way that the early-modern printed book often played on the idea of the reader as a tasteful consumer.

Details to follow…

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Shakespeare’s Twelfth Night in Cardiff March 15-19th

March 11, 2011

More information here

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