View programme with Abstracts<\/a><\/p>\n Publishers\u2019 Displays in Conference Centre and Faraday Lecture Complex<\/p>\n ‘Getting Past Two Dimensional Staging’ – Professor Andrew Gurr, University of Reading, the Globe Theatre and Rose Theatre.<\/p>\n \u2018Why, all this while I ha\u2019 but played a part\u2019 (Antonio\u2019s Revenge 4.5.47): Exposing the Child in Marston and Jonson, Shehzana Mamujee (Newcastle University)<\/p>\n Speaking Like a Child: Staging Children\u2019s Speech in Shakespearean Drama, Lucy Munro, Keele University.<\/p>\n \u201cJust Boys Really…\u201d In the Company of Edward\u2019s Boys, Perry Mills, King Edward\u2019s School, Stratford-upon-Avon.<\/p>\n Antonio \u2018against a sea of troubles\u2019 in the The Merchant of Venice, Sara Trevisan, University of Warwick.<\/p>\n Turning the Early Modern Thames Outside In and Inside Out, Jemima Matthews, Nottingham University<\/p>\n \u2018Disliken the truth of your own seeming\u2019: Female Seafaring in Early Modern Drama, Maria Shmygol, Liverpool University.<\/p>\n ‘This physic’: Prayer as immune space in early modern English drama and poetry, Joseph Sterrett, Aarhus University, Denmark.<\/p>\n At a Safe Distance: Protection and Exclusion in 2 Henry IV, Katie Knowles, University of Liverpool.<\/p>\n Immunity and Silence on Shakespeare\u2019s Stage, Anne Sophie Haahr-Refskou, Aarhus University, Denmark.<\/p>\n Silver Sounds and Moody Food: Composing and Historical Performance at Shakespeare\u2019s Globe Theatre, William Lyons, The Guildhall School of Music & Drama and The Royal College of Music.<\/p>\n Shakespeare and Jazz: Turning Meanings Inside Out, Helen Wilcox, Bangor University, Wales and Allan Wilcox (jazz bassist)<\/p>\n 3.30-4.00\u00a0\u00a0 Tea \/ Coffee\u00a0 Faraday Lecture Complex Smiles That Reveal, Smiles That Conceal, Professor Bob White (Winthrop Professor\u00a0 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)<\/p>\n 5 pm \u2013 6 pm:\u00a0 Conference Reception, Lancaster Institute for Contemporary Arts Building (LICA)<\/p>\n Welcome by Professor Bob McKinlay (Deputy Vice-Chancellor)<\/p>\n Launch of the British Shakespeare Assocation’s \u2018Teaching Shakespeare\u2019<\/p>\n 6.00 p.m. Coaches depart from outside the LICA building for Lancaster City Centre<\/p>\n 7.30 pm:\u00a0\u00a0\u00a0 Performances<\/p>\n Much Ado About Nothing at Lancaster Castle<\/p>\n Love\u2019s Labour\u2019s Lost, Northern Broadsides, Duke\u2019s Theatre, Lancaster<\/p>\n \u2018The Tempest at 400: Verona: \u201cAbstraction and Allegory\u201d: Making The Tempest Mean\u2019, Professor Kate McLuskie, Emeritus Professor, The Shakespeare Institute, University of Birmingham.<\/p>\n 10-10.30 Tea \/ coffee Faraday Lecture Complex<\/p>\n Painting The Tempest, Alan O\u2019Cain (artist and designer)<\/p>\n Winding Blake\u2019s Fiery Pegasus; the Art of Illustrating Metaphor, Siri Vevle, University of Bergen.<\/p>\n Know\u2019st me not by my clothes?, Sylvia Morris (Head of Library and Archive, Shakespeare Birthplace Trust)<\/p>\n Innovative approaches to Shakespeare’s Works in Education, Sarah Olive, Lecturer in English in Education, University of York.<\/p>\n \u201cFrom the table of my memory\u201d: Blogging Shakespeare in\/out of the classroom, Peter Kirwan, University of Nottingham.<\/p>\n ‘How popular media can be used in the classroom to facilitate understanding of Shakespeare?, Kathryn Westwood, University of Manchester.<\/p>\n Cold War Shakespeare: Secret Interior or Public Square?, Erica Sheen, University of York.<\/p>\n Asian Shakespeare Intercultural Archive (A|S|I|A): A New Digital Project for Developing Research and Pedagogy, Kaori Kobayashi, Nagoya City University, Japan.<\/p>\n Kenneth Branagh\u2019s Shakespeare Films, Kevin Murray, Queen\u2019s University, Belfast.<\/p>\n Bodying Forth: Shakespeare and Stage Materiality, Dr. Matthew Wagner, University of Surrey.<\/p>\n Hermione\u2019s Statue and Petruchio\u2019s foot: Spectacle, Ekphrasis and the persuasive power of performance, Kathleen O\u2019Leary, St. Helens College.<\/p>\n ‘Problem-Play Dramaturgy in Measure for Measure and Othello, David Margolies, Goldsmiths University.<\/p>\n \u2018Her arms do lend his neck a sweet embrace: \/ Incorp\u2019rate then they seem; face grows to face\u2019: Ovid\u2019s tale of Salmacis and Hermaphroditus as a source text for Shakespeare\u2019s Venus and Adonis, Cathleen McKague, The Shakespeare Institute, University of Birmingham<\/p>\n Lions and Tigers and Bears, Oh My! Shakespeare\u2019s Transformation of his Sources in The Winter\u2019s Tale and A Midsummer Night\u2019s Dream, Katherine Heavey, Newcastle University.<\/p>\n Inside Out Down Under: Reworking Shakespeare in New Zealand, Megan Murray-Pepper, King’s College London.<\/p>\n “Shakespeare and Early\/Modern English”, Paula Blank, College of William & Mary.<\/p>\n ‘Close Encounters: The Rhetoric of the un-natural in ‘Hamlet”, Katie Wales, University of Nottingham.<\/p>\n Gemma North, Richard Hand and Sue McCormick (Demi-Paradise Productions)<\/p>\n 12.00-1.30\u00a0\u00a0 LUNCH \u2013 Hot and Cold buffet served in the Conference Centre<\/p>\n \u2018Shakespeare and the History of Human Experience\u2019, Erin Sullivan, Shakespeare Institute, University of Birmingham.<\/p>\n \u2018A Prolegomenon to \u201cShakespearience\u201d\u2019, Ewan Fernie, Shakespeare Institute, University of Birmingham.<\/p>\n \u2018Shakespeare and Depth\u2019, Andy Mousley, De Montfort University.<\/p>\n Stuart Hampton-Reeves (Chair), Professor of Drama, University of Central Lancashire The relationship between surface and depth in Shakespeare\u2019s plays as seen through Karl Marx\u2019s reading of them, Christian Smith, University of Warwick.<\/p>\n Shakespeare v The BNP: Beyond a skin-deep Bard, Dr Adam Hansen, Northumbria University.<\/p>\n \u201cWe have seen the best of our time\u201d: (King) Lear\u2019s politics of the present, Sam Haddow, University of Nottingham.<\/p>\n ‘From love in earnest to love in play’: Layering Cels and Meaning in Shakespeare: The Animated Tales, Kate Harvey, Trinity College Dublin<\/p>\n \u2018It represents a real baby\u2019: Performing Shakespeare’s Children for Child Audiences, Kate Chedgzoy, Newcastle University.<\/p>\n \u201cReeling word-drunk\u201d: The Experience of Text in Children’s Shakespeare Fictions, Chloe Stopa-Hunt (poet and critic)<\/p>\n “What is Innogen thinking?” John Drakakis, University of Stirling<\/p>\n Misapprehension of the Senses in Much Ado About Nothing, Paul Innes, Glasgow University.<\/p>\n The Club Tropicana Much A Dr Who About Nothing, Julie Raby, York St John University.<\/p>\n A Screening of Mickey B by Tom Magill introduced by Tom Magill (Educational Shakespeare Company) and Ramona Wray (Queen’s University Belfast)<\/p>\n 3.15-4.00 Tea \/ Coffee<\/p>\n 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).<\/p>\n 5.30 pm \u2013 7.00 pm: Reception<\/p>\n British Shakespeare Association’s 10th Anniversary Celebrations including<\/p>\n 6.30-7.00 The Tempest, dir. Marion Plowright, Ripley St. Thomas School, Lancaster (Auditorium, Storey Creative Industries Centre)\u00a0 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)<\/p>\n Shakespeare and Aesthetic Identity: Depth\/Surface\/Meaning, Professor Stuart Sillars, University of Bergen.<\/p>\n 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<\/p>\n From the Film of the Skin to \u2018The Skin of the Film\u2019: Corporeal Surfaces in As You Like It, Liz Oakley-Brown, Lancaster University.<\/p>\n Shakespeare’s \u2018Tragedy of Blood\u2019 Reassessed: On the Recuperation of Titus Andronicus\u2019s Affective Surface, Xavier Aldana Reyes, Lancaster University.<\/p>\n Hairs, heirs, and airs: Masculine subjectivity in Hamlet and Macbeth, Eleanor Rycroft, Lancaster University.<\/p>\n The Mask of the Refuser, Richard Chamberlain, Northampton University.<\/p>\n Shakespeare\u2019s Stage Traffic, Janet Clare, University of Hull.<\/p>\n \u201cNothing, but the understanding Gentlemen o’the Ground\u201d: Citizens of the London Stage. Diana Barnes, University of Tasmania.<\/p>\n Transcribing Theatre History: What Henry Herbert’s Office Book Can Tell us’, Eleanor Collins (Oxford University Press).<\/p>\n Publishers’ perspectives, Sarah Stanton (Cambridge University Press) and Matthew Frost (Manchester University Press)<\/p>\n The Influence of Anxiety(?): Thoughts on the Supposed ‘Crisis in Editing’ and the use of Editions in Pedagogical Practice, Will Sharpe, University of Leeds.<\/p>\n 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).<\/p>\n Participants: Carson Bergstrom, Peter Groves, Jos\u00e9 L. Oncins-Mart\u00ednez, Michael Ingham, Jonathan Hope, Iolanda Plescia, Urszula Kizelbach, Russ McDonald, Giles Goodland, John Bigelow, Hugh Craig. Respondent: Paula Blank.<\/p>\n Carson BERGSTROM, University of Salford, Manchester, UK, Shakespeare\u2019s use of the pun from the perspective of neuro-and-cognitive science.<\/p>\n John BIGELOW, Monash University, Australia, \u2018Changing the beat: did he deliberate?\u2019<\/p>\n Giles GOODLAND, Oxford English Dictionary<\/p>\n Hugh CRAIG, University of Newcastle, Australia, Sisters under the skin: characters with different names and authors but deep stylistic affinities.<\/p>\n Peter GROVES, Monash University, Australia, Profiling Shakespeare’s Pentameter.<\/p>\n Jonathan HOPE, Strathclyde University, The very large textual surface: digital approaches to meaning<\/p>\n 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.<\/p>\n Urszula KIZELBACH, Adam Mickiewicz University, Pozna\u0144, Poland, \u2018All is true that is mistrusted\u2019 or the pragmatic study of jealousy in Othello and The Winter\u2019s Tale by William Shakespeare.<\/p>\n Russ MCDONALD, Goldsmiths College, University of London, Pretty rooms: the Shakespearean sonnet in context.<\/p>\n Jos\u00e9 Luis ONCINS MART\u00cdNEZ, C\u00e1ceres University, Spain, News or tidings? Stylistic markedness and emotions in Shakespeare\u2019s plays.<\/p>\n Iolanda PLESCIA, Sapienza University of Rome, Expressions of futurity in Shakespearean dialogue.<\/p>\n 11.30-12.00 Coffee \/ Tea\u00a0\u00a0 Faraday Lecture Complex<\/p>\n 12.00-1.00 Panel Sessions and Workshops<\/p>\n Shakespeare Does Cultural History: Optics of Disenchantment, Nick Davis, Liverpool University.<\/p>\n Bottom translated: Shakespeare\u2019s fourth wall as a mirror of folly, M A Katritzky (Open University)<\/p>\n Do you want me to draw you a picture?\u00a0 Clarity and genealogy in the history plays, Dr Pete Orford, The Shakespeare Institute, University of Birmingham.<\/p>\n Shakespeare\u2019s Cipher: the Appearance of Character in Henry V, Matthew J. Smith, University of California<\/p>\n Exploring the value of teaching English through adaptations of Shakespeare to non-native learners, Dr. Lucia Garcia Magaldi, University of Cordoba, Spain.<\/p>\n 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.<\/p>\n 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\u2019s College London; and Text, body, site: Anglo-American and M\u0101ori Merchant(s) of Venice, Kornelia Taborska, Adam Mickiewicz University in Pozna\u0144, Poland.<\/p>\n Transformations of the Catholic ritual of the Eucharist in Love\u2019s Labour\u2019s Lost, Ayako Kawanami, Gakuin University, Japan.<\/p>\n \u2018This Civil War of Wits\u2019: Shakespeare\u2019s Love\u2019s Labour\u2019s Lost and Mary Sidney\u2019s Antonius, Daniel Cadman, Sheffield Hallam University.<\/p>\n 1.00 \u2013 2.00 LUNCH\u00a0 Hot and Cold buffet served in the Conference Centre<\/p>\n \u2018Language and Style Seminar\u2019 (Continued)<\/p>\n Secrecy, Privacy, and Power in Middleton and Shakespeare, Eoin Price, The Shakespeare Institute, University of Birmingham.<\/p>\n \u2018I am he\u2019: seeking the performative self beneath the surface of Julius Caesar\u2019s third person, Miryana Dimitrova, University of London.<\/p>\n \u2018The \u201cantic disposition\u201d: madness and justice in Shakespeare, Webster and Brome\u2019, Dr Jessica Dyson, University of Portsmouth.<\/p>\n \u2018I\u2019ll catch thine eyes\u2019 \u2013 Fascination on Shakespeare\u2019s stage, Sibylle Baumbach,\u00a0 University of Mainz.<\/p>\n \u201cWrestling with Sibyls: Reattribution of Sibylline Agency in Macbeth\u201d, Jessica L. Malay, University of Huddersfield.<\/p>\n \u2018Throw her forth\u2019: r\/ejecting women in Titus Andronicus, Marion Wynne-Davies, University of Surrey.<\/p>\n Shakespeare, the Play of History and the War on Memory, Andrew Hiscock, Bangor University.<\/p>\n A rose is a rose?\u00a0 Doubling in Michael Boyd\u2019s production of Shakespeare\u2019s Histories, Imke Pannen,University of Bonn, Germany.<\/p>\n History Inside-Out Prophecy, Ideology, and Historiography In 1 and 2 Henry IV, Lee Rooney, University of Liverpool.<\/p>\n ‘The Empty Box in Timon of Athens’, Graham Atkin, University of Chester.<\/p>\n “Timon of Athens (1606?) and Timon (1602?): Ritualistic Violence and Rhetorical Violence; When is Misanthropy not Misanthropy?”, Steve Orman, Canterbury Christ Church University.<\/p>\n Text, body, site: Anglo-American and M\u0101ori Merchant(s) of Venice, Kornelia Taborska, Adam Mickiewicz University in Pozna\u0144, Poland.<\/p>\n Turning Hamlet Inside-out: Barton\u2019s 1980-81 RSC Production, Thea Buckley, Shakespeare Institute.<\/p>\n Welcome and\/as Farewell: Loyalty in Hamlet, Q1 and Q2, Assoc. Prof. Dr. J\u00fcrgen Meyer, Institute for English and American Studies, Martin-Luther-University Halle-Wittenberg, Germany<\/p>\n Lost in translation? A Western Viewer (Mis)Reads a Chinese Production of Hamlet, Saffron Walkling, University of York and York St John University.<\/p>\n \u2018[T]he senseless brands will sympathize \/ The heavy accent of thy moving tongue\u2019: Shakespeare and the Imitation of Sympathy, Richard Meek, University of Hull.<\/p>\n \u201cI see it feelingly\u201d: Seeing surfaces and feeling truth in King Lear and Hamlet, Zhiyan Zhang, University of Exeter.<\/p>\n \u2018(S)wept from power: two versions of tyrannicide in Richard III\u2019, Ann Kaegi, University of Hull.<\/p>\n 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.<\/p>\n Placing and Spacing the Clown: Launce in The Two Gentlemen of Verona, Elizabeth Ford, Cardiff University.<\/p>\n 3.30-4.00\u00a0 Coffee \/ Tea served Faraday Lecture Complex<\/p>\n Men Who Weep: Affective Politics in the English History Play, Professor Jean E. Howard, George Delacorte Professor in the Humanities Columbia University<\/p>\n Chair: Liz Oakley-Brown<\/p>\n Closing Plenary: (6.00 pm \u2013 7.00 pm, The Duke\u2019s Theatre, Lancaster)<\/p>\n Shakespeare Bites Back!\u00a0 Professor Stanley Wells and Dr Paul Edmondson Stand Up for Shakespeare as the Author of his Works.<\/p>\n View programme with Abstracts<\/a><\/p>\n \u00abBack<\/a><\/p>\n","protected":false},"excerpt":{"rendered":" Friday 24 February 2012 View programme with Abstracts Publishers\u2019 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. … Continue reading Plenary I: Chair: Alison Findlay<\/h2>\n
Panel 1: Shakespeare and Children (2.00-3.30 Conference Centre Room 1)\u00a0 Chair: Sarah Olive<\/h2>\n
Panel 2: Water \u2013 Surface, Depth, Meaning
\nChair: Steve Longstaffe<\/h2>\nPanel 3: Shakespeare\u2019s Inside-Out Communities
\nChair: Hilary Hinds<\/h2>\nPanel 4: Shakespeare and Music
\nChair: Alison Findlay<\/h2>\nPanel 5: Romeo and Juliet \u2013 Open Rehearsal and Discussion
\nHelen Tozer, Lancaster Girls Grammar School.<\/h2>\n
\nPublishers\u2019 displays<\/p>\nPlenary II: (4.00 pm Faraday Lecture Theatre)
\nChair: Peter J. Smith<\/h2>\nSaturday 25 February 2012<\/h2>\n
Plenary III:<\/h2>\n
Panel 6: Picturing Shakespeare
\nChair: Stuart Sillars<\/h2>\nPanel 7: Teaching Shakespeare Inside-Out
\nChair: James Stredder<\/h2>\nPanel 8: Screenings
\nChair: Liz Oakley-Brown<\/h2>\nPanel 9: Bodying Forth
\nChair: Hilary Hinds<\/h2>\nPanel 10: Intertexts
\nChair: Kerry Gilbert<\/h2>\nPanel 11: Shakespeare and Language
\nChair: Jonathan Culpeper<\/h2>\nPanel 12: Workshop Much Ado About Nothing<\/h2>\n
Panel 13: Shakespeare Human Surfaces and Depths
\nChair: Andrew Hiscock<\/h2>\nPanel 14: Shakespeare in Performance<\/h2>\n
\nPresenters: Jami Rogers, Darren Tunstall and Stephen Purcell.<\/p>\nPanel 15: Radical Politics
\nChair: Liz Oakley-Brown<\/h2>\nPanel 16: Shakespeare, Children and Pedagogy
\nChair: Sarah Olive<\/h2>\nPanel 17: Much Ado About Nothing
\nChair: Eleanor Rycroft<\/h2>\nPanel 18: ‘Unlocking Shakespeare Unlocking Prisoners – Macbeth becomes ‘Mickey B’ in maximum security’<\/h2>\n
Plenary IV:<\/h2>\n
Sunday 26 February 2012<\/h2>\n
Plenary V:<\/h2>\n
Panel 20<\/h2>\n
Panel 21: Screening the Surface (10.00 am \u2013 11.30 am Conference Centre Room 3) Chair: Becky Coleman<\/h2>\n
Panel 22: Early Modern Stage Traffic
\nChair: Jean E. Howard<\/h2>\nPanel 23: Inside and Outside the Book
\nChair: Erin Sullivan<\/h2>\nPanel 24: Shakespeare and I
\nChair: Ramona Wray<\/h2>\nPanel 25: \u2018Feeling Shakespeare’s Language: a practical workshop for teachers at all levels,\u00a0 Ros King (Southampton University)<\/h2>\n
Panel 26: Shakespeare\u2019s Language and Style Seminar
\nJonathan Culpeper (Chair), Lancaster University, and Mireille Ravassat, Valenciennes University, France.<\/h2>\nPanel 27: Shakespeare and Optics
\nChair: Hilary Hinds<\/h2>\nPanel 28: Lines and Ciphers in Shakespeare\u2019s Histories
\nChair: John Drakakis<\/h2>\nPanel 29: Digital Gateways to Shakespeare
\nChair: Erin Sullivan<\/h2>\nPanel 30: Inside Out Down Under
\nChair: Kathleen O\u2019Leary.<\/h2>\nPanel 31: Love\u2019s Labour\u2019s Lost
\nChair: Liz Oakley-Brown<\/h2>\nPanel 32: Regional Shakespeare: Directors\u2019 Panel
\nPeter J. Smith and Alison Findlay (Chair) in discussion with Barrie Rutter, David Thacker, Helena Kaut-Howson<\/h2>\n2.00-3.30\u00a0 Panels and Workshops<\/h2>\n
Panel 33: Self-Representation and Self-Government
\nChair: Stephen Curtis<\/h2>\nPanel 34: Women and Bewitchment
\nChair: Eleanor Rycroft<\/h2>\nPanel 35: Histories and Performance Histories
\nChair: Stuart Hampton Reeves<\/h2>\nPanel 36: Ritual Violence
\nChair: Liz Oakley-Brown<\/h2>\nPanel 37: Hamlet<\/h2>\n
Panel 38: Sympathy
\nChair: Bob White<\/h2>\nPanel 39: \u2018Clowning\u2019 Workshop and paper
\nChair: Steve Longstaffe<\/h2>\nPlenary VI:<\/h2>\n