ANZSA members may be interested to know that Adrian Kiernander’s new book, John Bell, Shakespeare and the Quest for a New Australian Theatre has just been published by Brill:
This book about the work of actor director John Bell is essential reading for anyone interested in Australian theatre and in Shakespearean performance. Adrian Kiernander makes use of the Stage on Screen archive of Australian theatre with extensive video excerpts of performances, and lucidly explains how, for over five decades, Bell has revived and reinvented theatre in Australia with his interpretations of radical new drama and particularly his innovative approach to staging Shakespeare’s plays. This scholarly book reveals why Bell deserves the reputation as a ‘national living treasure’ and a giant of the Australian theatre. It presents a perspective on recent history and national identity through the achievements of theatre and its evolution over time. From carnivalesque to circus, tragedy to farce, Bell has created theatre that is dynamic, vibrant and politically aware and that continues to challenge and excite audiences.
Congratulations to ANZSA Vice President Brett Hirsch, whose Digital Renaissance Editions was officially launched during the recent SAA meeting in Vancouver!
As ANZSA members will know from recent conferences etc., Brett’s been working on putting together the platform and team for this invaluable project for a number of years now, and the launch is at once the culmination of that industriousness but also only the beginning of the project’s mission to publish electronic critical editions of non-Shakespearean drama.
DRE has launched with completed editions of The Honest Whore, Parts One and Two (edited by Joost Daalder) and An Humorous Day’s Mirth (edited by Eleanor Lowe), and an impressive Editorial Board and General Textual Editors — not to mention the star-studded line up of Patrons (Alan Cumming, James Franco, Vanessa Redgrave, and Mark Rylance).
For those who missed the launch, a brief recap can be found here:
PS. DRE welcomes proposals!
The Institute for the Public Life of Arts and Ideas at McGill University seeks a Postdoctoral Fellow in Studies in Early Modern Europe with a demonstrable research interest in the public life of arts and ideas. The Fellow will join a research project—Early Modern Conversions: Religions, Cultures, Cognitive Ecologies.
Early Modern Conversions is a five-year, international, interdisciplinary project (2013-2018) that studies how early modern Europeans changed their confessional, social, political, and even sexual identities. These subjective changes were of a piece with transformations in their world— the geopolitical reorientation of Europe in relation with the Ottoman Empire and the Americas; the rethinking of Latin Antiquity; changes in the built environment; the reimagining of God. The research is growing together with a History Visualization Lab able to track the growth of multiple conversional forms, both geographically and historically. Among the partners taking part in the Conversions project are the Folger Shakespeare Library, the Centre for Research in Arts, Social Sciences, and Humanities (Cambridge), the Stratford Shakespeare Festival, and the Guildhall School of Music and Drama. Headquartered at the Institute for the Public Life of Arts and Ideas (IPLAI), McGill University, and funded by the Social Sciences and Humanities Research Council of Canada and the Canadian Foundation for Innovation, the project will develop an historical understanding that will also enlighten modern debates about corporeal, sexual, psychological, political, and spiritual kinds of transformation.
The start date for the year-long position is August 1, 2015. There is the possibility of a one-year renewal. Candidates will have a PhD in one of the fields represented in the project, a research program relevant to the central interests of the project, and a demonstrable interest in public life of works of art and intellect. The Fellow will work on his or her own research program, collaborate with colleagues in an interdisciplinary context, and take part in the development of the project’s program of public outreach, education, and exchange. He or she will serve on the project’s Education and Public Exchange Advisory Committee and might have opportunities to teach courses in his or her area of specialty. The fellowship stipend is $40,000 per annum.
Applications, consisting of a cover letter, CV, and an article-length writing sample should be sent to Paul Yachnin, Director, Early Modern Conversions, at firstname.lastname@example.org. Please arrange to have three letters of reference sent to the same address; referees should include the name of the candidate in the subject line of their emails. Adjudication of applications will begin January 5, 2015.
CFP: KINGSTON SHAKESPEARE SEMINAR
Flyer: KOTT CALL-2-2-2
Jan Kott Our Contemporary: Contexts, Legacies, New Perspectives
An international one-day conference, Rose Theatre, Kingston-upon-Thames
Thursday 19 February 2015
On the hundredth anniversary of his birth, and fifty years to the day after the English publication of Jan Kott’s Shakespeare Our Contemporary, this conference will bring together scholars, students, practitioners, reviewers, and members of the general public, to discuss the role of the Polish critic Jan Kott in Shakespeare and Theatre Studies, as well as his contribution to the intellectual life of the twentieth century. The event is part of a centenary celebration that includes evening performances of Songs of Lear, an acclaimed production by the Polish Song of the Goat Theatre, at the Battersea Arts Centre, London.
Proposals are invited for 20-min seminar papers. Possible topics include:
1. Jan Kott as academic critic. How has Shakespeare Our Contemporary shaped the development of Shakespeare criticism and Theatre Studies?
2. Kott and the art of the essay. What made Kott’s essays influential; and do we still need them?
3. Kott and ancient Greek drama. How has the critic influenced Classical Studies?
4. Kott and Existentialism. What was the importance of Kott’s work as a translator of Sartre?
5. Kott and the theatre of the absurd: the critic’s response to Beckett, Ionesco and Gombrowicz.
6. Kott and global theatre. What was the importance of the critic’s interest in Kabuki and Noh?
7. Kott’s and the anthropology of theatre. What was the extent of Kott’s interaction with Jerzy Grotowski, Tadeusz Kantor and Peter Brook?
8. Kott and Modernism. Can the critic be read as a Modernist writer?
9. Kott and religion. What were the critic’s views on Catholic doctrine on morality and sexuality, particularly in light of his writings on androgyny in Renaissance art and literature?
10. Kott’s politics. What were the critic’s reactions to Marxist and Post-Marxist political theory, and to their impact on Polish and international theatre and theatre theory?
11. Kott and Jewish ethnicity. What is the impact of the Shoah on Polish and world theatre?
12. Kott, Polish emigration, and émigré culture. How do exiled artists and intellectuals like the critic shape the societies in which they work?
If you are interested in participating in ‘Jan Kott Our Contemporary’, please send a 200-word abstract with a 50-word cv. by December 1 2014 to Aneta Mancewicz and Richard Wilson: email@example.com
Alternatively you may use this postal address:
Aneta Mancewicz and Richard Wilson
Faculty of Arts and Social Sciences
Kingston upon Thames
Surrey KT1 2EE
Speakers will be notified of acceptance by 8 December 2014.
There is no registration fee for ‘Jan Kott Our Contemporary’. The conference will be free and open to the general public. Tickets for the Song of the Goat Theatre production of Songs of Lear at the Battersea Arts Centre on February 20 and 21 2015 will be on sale at a special rate.
John Elsom (Kingston Shakespeare Seminar), Anna Godlewska (Polish Cultural Institute), Anna Gruszka (Polish Cultural Institute), Aneta Mancewicz (Kingston University), Aleksandra Sakowska (British Friends of the Gdansk Theatre Trust), Richard Wilson (Kingston University);
The University of Western Australia is currently advertising for a new Director for the Australian Research Council Centre of Excellence for the History of Emotions (Europe 1100-1800). Further information:
Information for Candidates Director Centre for the History of Emotions (1MB)
Director of the ARC Centre (75kb)
[via Mark Houlahan]
KISS TLS Advert Autumn 2014-2-2-2-2-2
KINGSTON SHAKESPEARE SEMINAR
SHAKESPEARE AND MUSIC
Rose Theatre, Kingston
School of Humanities
Two MA scholarships in Drama 2015
Shakespeare’s Theatre Games
Supervisor: Prof. Tom Bishop
Seeking applicants for TWO (2) MA scholarships in Drama in 2015 on some topic related to early modern (1500-1642) dramatic performance practice.
Applicants will work on researching and exploring the work of early modern performers, producing a research portfolio of written and performance work to be decided in consultation. The project will include active performance and a full-production programme working on early modern drama both solo and with other students. Choice of performed work will be made in consultation. Possibilities for written work include:
- the history of some aspect of early modern English performance.
- clowning and comic skills in sixteenth century English drama.
- the history of a key individual performer or company in the early modern English theatre.
Applicants are strongly encouraged to contact the supervisor in advance
of the deadline to discuss their proposed research.
The scholarships cover:
• fees at the University of Auckland for full-time enrolment in the MA in Drama.
- a tax-free stipend totalling $16,000 for the year (to be paid out in monthly intervals across the period of enrolment).
- practical training and production work with Dr. Ira Seidenstein, world-renowned clown teacher and mentor.
Applications are due by email to Tom Bishop (firstname.lastname@example.org) no later than 30 November 2014. The successful candidates will be notified by 7 December 2014. The successful candidate will have until 14 Decemberto take up the scholarship offer and must be fully enrolled in the MA programme in Drama at the University of Auckland no later than 1 March, 2015.
Applications must include the following:
- A copy of the applicant’s official academic record (to be verified by the University of Auckland once the application is successful).
- A letter applying for the place including a description of areas of interest and experience and plans for research and performance.
- A letter of reference in support of the application, sent confidentially to the supervisor by the referee (by post or email).
Applicants should note the following:
1. Applications will be assessed on the candidate’s academic record, experience with drama and research potential, and the quality of the referee report. The supervisor may request an interview with applicants bySkype, telephone or in person.
2. Applicants may receive the scholarship as soon as they are fully enrolled in the MA programme at the University of Auckland. They are expected to be resident in Auckland for the duration of their enrolment, asidefrom any agreed periods of research travel.
3. The scholarship is offered for a period of one year. Applicants are expected to have completed within this period. If additional time is required, the applicant will have to bear any additional costs.
4. In order to take up the offer, the successful applicant must meet all requirements for admission into an MA in Drama at the University of Auckland. The scholarship will not be paid out until the successful applicant isfully enrolled in the MA.
5. To remain eligible for the scholarship, the successful applicant must fulfil all the requirements of on-going enrolment in an MA in Drama at the University of Auckland. The scholarship may be terminated if the applicant does not make satisfactory progress.
6.As per University of Auckland policy, the amount of additional work the applicant may undertake either inside or outside the University shall not exceed a total of 500 hours in the scholarship year.
7. The scholarship cannot be held concurrently with any other scholarship either from within or outside the University of Auckland.
8. The scholarship may be terminated if the applicant fails to meet the above conditions.
For further information, please contact:
Phone: +64 9 373 7599 ext 87841.
For information on enrolment, see:
Marsden MA Scholarships
The Australian and New Zealand Shakespeare Association announces additional provisions to postgraduates participating in the ANZSA 2014 conference via a half day workshop and competitive postgraduate bursaries.
ANZSA Postgraduate Workshop (01 October 2014)
Postgraduate students attending the 12th biennial conference of the Australian and New Zealand Shakespeare Association (ANZSA), “Shakespearean Perceptions,” are also invited to participate in a free postgraduate workshop on 1 October, at the University of Southern Queensland. The workshop will be facilitated by Emeritus Professor Helen Ostovich (McMaster University) and Professor Evelyn Tribble (University of Otago).
Part 1: Interdisciplinarity: Some Practical Guidelines (1 hour)
Prof. Evelyn B. Tribble (Otago)
Literary & performance studies have a long history of appropriating or borrowing from other disciplines in developing new methodology: psychoanalytic criticism and historicist criticism are only two examples of such cross-disciplinary borrowing. But working across disciplines is often problematic; it is notoriously difficult to gain a full understanding of the target discipline, and there are many examples of ‘cherry-picking’ a cognate discipline, or preferring only those studies that seem to uphold one’s pre-existing beliefs (a form of confirmation bias, if you will).
How do researchers map disciplines other than their own? What are the best approaches to working across disciplines or, for that matter, taking on a new sub-field of one’s own discipline (e.g. theatre history).
Workshop facilitators will talk about their own practices and examine one or two case studies, circulated in advance. Participants will be invited to bring particular examples from their own research for discussion.
Part 2: Performance and Digital Editing (2 hours)
Prof. Emeritus Helen Ostovich (McMaster)
This workshop will focus on Shakespeare’s Merchant of Venice and Wilson’s The Three Ladies of London. Both plays should be read beforehand. Topics include:
1. What did Shakespeare do with his source and why;
2. How to find background on Jews and Turks: the case of Dr Lopez and varied responses to it; the role of ‘hidden Jews’ in early modern London; foreigners in early modern London;
3. View of Italians and other foreigners in early modern London;
4. Performance as research: foreigners attempting to speak English in Haughton’s An Englishman for my Money; the Italian in Three Ladies of London (in the trial scenes); perhaps French princess’s conversation with her nurse about learning English in Henry V, etc.;
5. Options for digital editions: voice over, film clips, traditional word-searches on LEME, full streaming video of productions, etc.
Queries should be directed to the postgraduate workshop coordinators, David McInnis (email@example.com) and Brett D. Hirsch (firstname.lastname@example.org).
ANZSA Conference, “Shakespearean Perceptions,” Postgraduate Bursaries
Postgraduate students who are presenting papers at the 12th biennial conference of the Australian and New Zealand Shakespeare Association (ANZSA), “Shakespearean Perceptions,” are invited to apply for an ANZSA postgraduate bursary to assist with the cost of travel to the conference. Bursaries will be awarded on a competitive basis and are scaled on the basis of distance from the venue (up to $750 for recipients travelling from Perth or outside Australia, $500 from Adelaide, Melbourne, Hobart or Australian destinations of similar distance, $250 from Sydney, and $150 from Brisbane). Delegates whose point of origin is less than 100 km from Toowoomba will be ineligible to apply.
It will be a condition of receipt of a bursary that the recipient attend the postgraduate workshop at the University of Southern Queensland (1 October, 2014). Applicants must have been accepted to present at the conference prior to submitting an application. All interested postgraduates are reminded that the final call for papers for the conference closes on 27 June, 2014. Bursaries will be available in the form of a reimbursement cheque upon arrival at the postgraduate workshop–funding is not available in advance of travel.
To apply, send a CV (maximum 3 pages) and a 250 word statement addressing the benefit that attendance at the conference will give to the applicant’s research goals. Applications should be sent to: Shakespeare.Symposiums@usq.edu.au.
Closing date for applications for bursaries will be 18 July.
For more details about ANZSA 2014, see the conference website: http://conference.anzsa.org/
Finding the Fourth Dimension: Learning through Practice in the Arts and Humanities
A Workshop for Lecturers and Researchers with Dr Bridget Escolme
Friday 25 July 2014, 9.30am – 5.30pm
Rehearsal Room, Upstairs from the foyer, The Arts Centre, ANU
Dr Rob Conkie (La Trobe), Dr Suzanne Moss (ANU), and Dr Penelope Woods (UWA)
Further information and details of student bursaries:
SLLL_Finding the Fourth Dimension
SLLL_’Learning through Practice Workshop’ Honours Student Bursary
Short notice, but anyone already planning on being in the UK next week may be interested in this event at the Rose, on Garrick and Shakespeare:
GarrickConfFlyer_Print 29 May 2014-2