Friday 24 February 2012
Publishers’ Displays in Conference Centre and Faraday Lecture Complex
Plenary I: Chair: Alison Findlay
‘Getting Past Two Dimensional Staging’ – Professor Andrew Gurr, University of Reading, the Globe Theatre and Rose Theatre.
Panel 1: Shakespeare and Children (2.00-3.30 Conference Centre Room 1) Chair: Sarah Olive
‘Why, all this while I ha’ but played a part’ (Antonio’s Revenge 4.5.47): Exposing the Child in Marston and Jonson, Shehzana Mamujee (Newcastle University)
Speaking Like a Child: Staging Children’s Speech in Shakespearean Drama, Lucy Munro, Keele University.
“Just Boys Really…” In the Company of Edward’s Boys, Perry Mills, King Edward’s School, Stratford-upon-Avon.
Panel 2: Water – Surface, Depth, Meaning
Chair: Steve Longstaffe
Antonio ‘against a sea of troubles’ in the The Merchant of Venice, Sara Trevisan, University of Warwick.
Turning the Early Modern Thames Outside In and Inside Out, Jemima Matthews, Nottingham University
‘Disliken the truth of your own seeming’: Female Seafaring in Early Modern Drama, Maria Shmygol, Liverpool University.
Panel 3: Shakespeare’s Inside-Out Communities
Chair: Hilary Hinds
‘This physic’: Prayer as immune space in early modern English drama and poetry, Joseph Sterrett, Aarhus University, Denmark.
At a Safe Distance: Protection and Exclusion in 2 Henry IV, Katie Knowles, University of Liverpool.
Immunity and Silence on Shakespeare’s Stage, Anne Sophie Haahr-Refskou, Aarhus University, Denmark.
Panel 4: Shakespeare and Music
Chair: Alison Findlay
Silver Sounds and Moody Food: Composing and Historical Performance at Shakespeare’s Globe Theatre, William Lyons, The Guildhall School of Music & Drama and The Royal College of Music.
Shakespeare and Jazz: Turning Meanings Inside Out, Helen Wilcox, Bangor University, Wales and Allan Wilcox (jazz bassist)
Panel 5: Romeo and Juliet – Open Rehearsal and Discussion
Helen Tozer, Lancaster Girls Grammar School.
3.30-4.00 Tea / Coffee Faraday Lecture Complex
Publishers’ displays
Plenary II: (4.00 pm Faraday Lecture Theatre)
Chair: Peter J. Smith
Smiles That Reveal, Smiles That Conceal, Professor Bob White (Winthrop Professor in English and Cultural Studies and co-director of the Australian Research Council Centre of Excellence for the History of Emotions in Europe 1100-1800)
5 pm – 6 pm: Conference Reception, Lancaster Institute for Contemporary Arts Building (LICA)
Welcome by Professor Bob McKinlay (Deputy Vice-Chancellor)
Launch of the British Shakespeare Assocation’s ‘Teaching Shakespeare’
6.00 p.m. Coaches depart from outside the LICA building for Lancaster City Centre
7.30 pm: Performances
Much Ado About Nothing at Lancaster Castle
Love’s Labour’s Lost, Northern Broadsides, Duke’s Theatre, Lancaster
Saturday 25 February 2012
Plenary III:
‘The Tempest at 400: Verona: “Abstraction and Allegory”: Making The Tempest Mean’, Professor Kate McLuskie, Emeritus Professor, The Shakespeare Institute, University of Birmingham.
10-10.30 Tea / coffee Faraday Lecture Complex
Panel 6: Picturing Shakespeare
Chair: Stuart Sillars
Painting The Tempest, Alan O’Cain (artist and designer)
Winding Blake’s Fiery Pegasus; the Art of Illustrating Metaphor, Siri Vevle, University of Bergen.
Know’st me not by my clothes?, Sylvia Morris (Head of Library and Archive, Shakespeare Birthplace Trust)
Panel 7: Teaching Shakespeare Inside-Out
Chair: James Stredder
Innovative approaches to Shakespeare’s Works in Education, Sarah Olive, Lecturer in English in Education, University of York.
“From the table of my memory”: Blogging Shakespeare in/out of the classroom, Peter Kirwan, University of Nottingham.
‘How popular media can be used in the classroom to facilitate understanding of Shakespeare?, Kathryn Westwood, University of Manchester.
Panel 8: Screenings
Chair: Liz Oakley-Brown
Cold War Shakespeare: Secret Interior or Public Square?, Erica Sheen, University of York.
Asian Shakespeare Intercultural Archive (A|S|I|A): A New Digital Project for Developing Research and Pedagogy, Kaori Kobayashi, Nagoya City University, Japan.
Kenneth Branagh’s Shakespeare Films, Kevin Murray, Queen’s University, Belfast.
Panel 9: Bodying Forth
Chair: Hilary Hinds
Bodying Forth: Shakespeare and Stage Materiality, Dr. Matthew Wagner, University of Surrey.
Hermione’s Statue and Petruchio’s foot: Spectacle, Ekphrasis and the persuasive power of performance, Kathleen O’Leary, St. Helens College.
‘Problem-Play Dramaturgy in Measure for Measure and Othello, David Margolies, Goldsmiths University.
Panel 10: Intertexts
Chair: Kerry Gilbert
‘Her arms do lend his neck a sweet embrace: / Incorp’rate then they seem; face grows to face’: Ovid’s tale of Salmacis and Hermaphroditus as a source text for Shakespeare’s Venus and Adonis, Cathleen McKague, The Shakespeare Institute, University of Birmingham
Lions and Tigers and Bears, Oh My! Shakespeare’s Transformation of his Sources in The Winter’s Tale and A Midsummer Night’s Dream, Katherine Heavey, Newcastle University.
Inside Out Down Under: Reworking Shakespeare in New Zealand, Megan Murray-Pepper, King’s College London.
Panel 11: Shakespeare and Language
Chair: Jonathan Culpeper
“Shakespeare and Early/Modern English”, Paula Blank, College of William & Mary.
‘Close Encounters: The Rhetoric of the un-natural in ‘Hamlet”, Katie Wales, University of Nottingham.
Panel 12: Workshop Much Ado About Nothing
Gemma North, Richard Hand and Sue McCormick (Demi-Paradise Productions)
12.00-1.30 LUNCH – Hot and Cold buffet served in the Conference Centre
Panel 13: Shakespeare Human Surfaces and Depths
Chair: Andrew Hiscock
‘Shakespeare and the History of Human Experience’, Erin Sullivan, Shakespeare Institute, University of Birmingham.
‘A Prolegomenon to “Shakespearience”’, Ewan Fernie, Shakespeare Institute, University of Birmingham.
‘Shakespeare and Depth’, Andy Mousley, De Montfort University.
Panel 14: Shakespeare in Performance
Stuart Hampton-Reeves (Chair), Professor of Drama, University of Central Lancashire
Presenters: Jami Rogers, Darren Tunstall and Stephen Purcell.
Panel 15: Radical Politics
Chair: Liz Oakley-Brown
The relationship between surface and depth in Shakespeare’s plays as seen through Karl Marx’s reading of them, Christian Smith, University of Warwick.
Shakespeare v The BNP: Beyond a skin-deep Bard, Dr Adam Hansen, Northumbria University.
“We have seen the best of our time”: (King) Lear’s politics of the present, Sam Haddow, University of Nottingham.
Panel 16: Shakespeare, Children and Pedagogy
Chair: Sarah Olive
‘From love in earnest to love in play’: Layering Cels and Meaning in Shakespeare: The Animated Tales, Kate Harvey, Trinity College Dublin
‘It represents a real baby’: Performing Shakespeare’s Children for Child Audiences, Kate Chedgzoy, Newcastle University.
“Reeling word-drunk”: The Experience of Text in Children’s Shakespeare Fictions, Chloe Stopa-Hunt (poet and critic)
Panel 17: Much Ado About Nothing
Chair: Eleanor Rycroft
“What is Innogen thinking?” John Drakakis, University of Stirling
Misapprehension of the Senses in Much Ado About Nothing, Paul Innes, Glasgow University.
The Club Tropicana Much A Dr Who About Nothing, Julie Raby, York St John University.
Panel 18: ‘Unlocking Shakespeare Unlocking Prisoners – Macbeth becomes ‘Mickey B’ in maximum security’
A Screening of Mickey B by Tom Magill introduced by Tom Magill (Educational Shakespeare Company) and Ramona Wray (Queen’s University Belfast)
3.15-4.00 Tea / Coffee
Plenary IV:
From the Inside-Out: Fifty Years of Making Meaning at the RSC, Cicely Berry in Conversation with Dr Alycia Smith-Howard , author of Studio Shakespeare: The Royal Shakespeare Company at The Other Place (Ashgate, 2006).
5.30 pm – 7.00 pm: Reception
British Shakespeare Association’s 10th Anniversary Celebrations including
6.30-7.00 The Tempest, dir. Marion Plowright, Ripley St. Thomas School, Lancaster (Auditorium, Storey Creative Industries Centre) Entry by ticket (free but as seating will be limited, only by advance reservation by emailing the conference organiser a.g.findlay@lancaster.ac.uk)
Sunday 26 February 2012
Plenary V:
Shakespeare and Aesthetic Identity: Depth/Surface/Meaning, Professor Stuart Sillars, University of Bergen.
Panel 20
Much Ado About Nothing and Site-Specific Production, Steve Tomlin (Producer); Sue McCormick (Director); Jude Glendinning (Musical Director). (10.00-11.00 Conference Centre Room 4) Chair: Alison Findlay
Panel 21: Screening the Surface (10.00 am – 11.30 am Conference Centre Room 3) Chair: Becky Coleman
From the Film of the Skin to ‘The Skin of the Film’: Corporeal Surfaces in As You Like It, Liz Oakley-Brown, Lancaster University.
Shakespeare’s ‘Tragedy of Blood’ Reassessed: On the Recuperation of Titus Andronicus’s Affective Surface, Xavier Aldana Reyes, Lancaster University.
Hairs, heirs, and airs: Masculine subjectivity in Hamlet and Macbeth, Eleanor Rycroft, Lancaster University.
The Mask of the Refuser, Richard Chamberlain, Northampton University.
Panel 22: Early Modern Stage Traffic
Chair: Jean E. Howard
Shakespeare’s Stage Traffic, Janet Clare, University of Hull.
“Nothing, but the understanding Gentlemen o’the Ground”: Citizens of the London Stage. Diana Barnes, University of Tasmania.
Transcribing Theatre History: What Henry Herbert’s Office Book Can Tell us’, Eleanor Collins (Oxford University Press).
Panel 23: Inside and Outside the Book
Chair: Erin Sullivan
Publishers’ perspectives, Sarah Stanton (Cambridge University Press) and Matthew Frost (Manchester University Press)
The Influence of Anxiety(?): Thoughts on the Supposed ‘Crisis in Editing’ and the use of Editions in Pedagogical Practice, Will Sharpe, University of Leeds.
Panel 24: Shakespeare and I
Chair: Ramona Wray
Panel leaders: Will McKenzie (Birkbeck, London) Theodora Papadopoulou (University of Cyprus), Participants: Simon Palfrey (Brasenose College, Oxford University), Richard Wilson (Cardiff University) Phil Davis (University of Liverpool), Paul Edmondson (Shakespeare Birthplace Trust).
Panel 25: ‘Feeling Shakespeare’s Language: a practical workshop for teachers at all levels, Ros King (Southampton University)
Panel 26: Shakespeare’s Language and Style Seminar
Jonathan Culpeper (Chair), Lancaster University, and Mireille Ravassat, Valenciennes University, France.
Participants: Carson Bergstrom, Peter Groves, José L. Oncins-Martínez, Michael Ingham, Jonathan Hope, Iolanda Plescia, Urszula Kizelbach, Russ McDonald, Giles Goodland, John Bigelow, Hugh Craig. Respondent: Paula Blank.
Carson BERGSTROM, University of Salford, Manchester, UK, Shakespeare’s use of the pun from the perspective of neuro-and-cognitive science.
John BIGELOW, Monash University, Australia, ‘Changing the beat: did he deliberate?’
Giles GOODLAND, Oxford English Dictionary
Hugh CRAIG, University of Newcastle, Australia, Sisters under the skin: characters with different names and authors but deep stylistic affinities.
Peter GROVES, Monash University, Australia, Profiling Shakespeare’s Pentameter.
Jonathan HOPE, Strathclyde University, The very large textual surface: digital approaches to meaning
Richard INGHAM, Birmingham City University & Michael INGHAM, Lingnan University, Hong Kong, Diachronic variables, proximity, and distance in the verse dramas of Shakespeare and his contemporaries.
Urszula KIZELBACH, Adam Mickiewicz University, Poznań, Poland, ‘All is true that is mistrusted’ or the pragmatic study of jealousy in Othello and The Winter’s Tale by William Shakespeare.
Russ MCDONALD, Goldsmiths College, University of London, Pretty rooms: the Shakespearean sonnet in context.
José Luis ONCINS MARTÍNEZ, Cáceres University, Spain, News or tidings? Stylistic markedness and emotions in Shakespeare’s plays.
Iolanda PLESCIA, Sapienza University of Rome, Expressions of futurity in Shakespearean dialogue.
11.30-12.00 Coffee / Tea Faraday Lecture Complex
12.00-1.00 Panel Sessions and Workshops
Panel 27: Shakespeare and Optics
Chair: Hilary Hinds
Shakespeare Does Cultural History: Optics of Disenchantment, Nick Davis, Liverpool University.
Bottom translated: Shakespeare’s fourth wall as a mirror of folly, M A Katritzky (Open University)
Panel 28: Lines and Ciphers in Shakespeare’s Histories
Chair: John Drakakis
Do you want me to draw you a picture? Clarity and genealogy in the history plays, Dr Pete Orford, The Shakespeare Institute, University of Birmingham.
Shakespeare’s Cipher: the Appearance of Character in Henry V, Matthew J. Smith, University of California
Panel 29: Digital Gateways to Shakespeare
Chair: Erin Sullivan
Exploring the value of teaching English through adaptations of Shakespeare to non-native learners, Dr. Lucia Garcia Magaldi, University of Cordoba, Spain.
Shakespeare and Digitalised Departures From Text and Stage: How Do Adaptations or Retellings of Shakespeare Act As Gateways To and From the Text?, Poonperm Paitayawat, Royal Holloway.
Panel 30: Inside Out Down Under
Chair: Kathleen O’Leary.
Please note: Papers in this panel have been reassigned to panels 10 and 36 respectively: Inside Out Down Under: Reworking Shakespeare in New Zealand, Megan Murray-Pepper, King’s College London; and Text, body, site: Anglo-American and Māori Merchant(s) of Venice, Kornelia Taborska, Adam Mickiewicz University in Poznań, Poland.
Panel 31: Love’s Labour’s Lost
Chair: Liz Oakley-Brown
Transformations of the Catholic ritual of the Eucharist in Love’s Labour’s Lost, Ayako Kawanami, Gakuin University, Japan.
‘This Civil War of Wits’: Shakespeare’s Love’s Labour’s Lost and Mary Sidney’s Antonius, Daniel Cadman, Sheffield Hallam University.
Panel 32: Regional Shakespeare: Directors’ Panel
Peter J. Smith and Alison Findlay (Chair) in discussion with Barrie Rutter, David Thacker, Helena Kaut-Howson
1.00 – 2.00 LUNCH Hot and Cold buffet served in the Conference Centre
2.00-3.30 Panels and Workshops
‘Language and Style Seminar’ (Continued)
Panel 33: Self-Representation and Self-Government
Chair: Stephen Curtis
Secrecy, Privacy, and Power in Middleton and Shakespeare, Eoin Price, The Shakespeare Institute, University of Birmingham.
‘I am he’: seeking the performative self beneath the surface of Julius Caesar’s third person, Miryana Dimitrova, University of London.
‘The “antic disposition”: madness and justice in Shakespeare, Webster and Brome’, Dr Jessica Dyson, University of Portsmouth.
Panel 34: Women and Bewitchment
Chair: Eleanor Rycroft
‘I’ll catch thine eyes’ – Fascination on Shakespeare’s stage, Sibylle Baumbach, University of Mainz.
“Wrestling with Sibyls: Reattribution of Sibylline Agency in Macbeth”, Jessica L. Malay, University of Huddersfield.
‘Throw her forth’: r/ejecting women in Titus Andronicus, Marion Wynne-Davies, University of Surrey.
Panel 35: Histories and Performance Histories
Chair: Stuart Hampton Reeves
Shakespeare, the Play of History and the War on Memory, Andrew Hiscock, Bangor University.
A rose is a rose? Doubling in Michael Boyd’s production of Shakespeare’s Histories, Imke Pannen,University of Bonn, Germany.
History Inside-Out Prophecy, Ideology, and Historiography In 1 and 2 Henry IV, Lee Rooney, University of Liverpool.
Panel 36: Ritual Violence
Chair: Liz Oakley-Brown
‘The Empty Box in Timon of Athens’, Graham Atkin, University of Chester.
“Timon of Athens (1606?) and Timon (1602?): Ritualistic Violence and Rhetorical Violence; When is Misanthropy not Misanthropy?”, Steve Orman, Canterbury Christ Church University.
Text, body, site: Anglo-American and Māori Merchant(s) of Venice, Kornelia Taborska, Adam Mickiewicz University in Poznań, Poland.
Panel 37: Hamlet
Turning Hamlet Inside-out: Barton’s 1980-81 RSC Production, Thea Buckley, Shakespeare Institute.
Welcome and/as Farewell: Loyalty in Hamlet, Q1 and Q2, Assoc. Prof. Dr. Jürgen Meyer, Institute for English and American Studies, Martin-Luther-University Halle-Wittenberg, Germany
Lost in translation? A Western Viewer (Mis)Reads a Chinese Production of Hamlet, Saffron Walkling, University of York and York St John University.
Panel 38: Sympathy
Chair: Bob White
‘[T]he senseless brands will sympathize / The heavy accent of thy moving tongue’: Shakespeare and the Imitation of Sympathy, Richard Meek, University of Hull.
“I see it feelingly”: Seeing surfaces and feeling truth in King Lear and Hamlet, Zhiyan Zhang, University of Exeter.
‘(S)wept from power: two versions of tyrannicide in Richard III’, Ann Kaegi, University of Hull.
Panel 39: ‘Clowning’ Workshop and paper
Chair: Steve Longstaffe
How were Elizabethan clowning sequences performed? What kinds of clues are there in printed texts? And just how full a picture do such texts actually give us?, Dr Stephen Purcell, University of Warwick.
Placing and Spacing the Clown: Launce in The Two Gentlemen of Verona, Elizabeth Ford, Cardiff University.
3.30-4.00 Coffee / Tea served Faraday Lecture Complex
Plenary VI:
Men Who Weep: Affective Politics in the English History Play, Professor Jean E. Howard, George Delacorte Professor in the Humanities Columbia University
Chair: Liz Oakley-Brown
Closing Plenary: (6.00 pm – 7.00 pm, The Duke’s Theatre, Lancaster)
Shakespeare Bites Back! Professor Stanley Wells and Dr Paul Edmondson Stand Up for Shakespeare as the Author of his Works.