CFP: ANZSA 2018, ‘Shakespeare at Play’

**CFP Extended: 04 September**

The convenors of the 2018 ANZSA conference, ‘Shakespeare at Play’, are extending the Call For Papers until Monday 04 September 2017.

Many of our friends in the northern hemisphere in particular are travelling for research during their summer, and some have asked for more time to submit abstracts for consideration. By extending the CFP to accommodate these colleagues, we also welcome late submissions from anyone closer to home (ANZ) who may still be wishing to present a paper.

‘Shakespeare at Play’
ANZSA 2018
The University of Melbourne
8-10 February 2018

Confirmed keynotes:

Gina Bloom, UC Davis
Claire M. L. Bourne, Penn State U
Roslyn L. Knutson, U Arkansas, Little Rock

20 minute papers are now invited for the Australian and New Zealand Shakespeare Association (ANZSA) biennial conference. Papers might consider (but are not restricted to) these or any related topics:

early modern plays
Shakespeare in plays
play on words
play-based learning
playing tricks
playback theatre
Melbourne: capital of cultural and sporting play
improvisational play
getting played

Inquiries and proposals (200 words + 50 word bio) should be sent to David McInnis ( by Monday 04 September 2017.

Organising Committee:

Gayle Allan, Deputy Dean, Trinity College, University of Melbourne

Rob Conkie, Senior Lecturer – Theatre and Drama, La Trobe University

David McInnis, Gerry Higgins Lecturer in Shakespeare Studies, University of Melbourne

Paul Salzman, Emeritus Professor of English Literature, La Trobe University

Hamlet and Emotions: Then and Now

Date: 10–11 April 2017
Venue: St Catherine’s College, The University of Western Australia
Enquiries: Paul Megna (
Organisers: Paul Megna and Bob White
Registration: This is a free event, but registration is required. Register online here.

Download call for papers flyer here:

Ian McEwan’s recent novel Nutshell (2016), in which Hamlet is an unborn foetus, is only the latest in a line of appropriations of Shakespeare’s plays stretching back to 1600. Hamlet itself stretches beyond the seventeenth century, drawing on sources that date back to twelfth-century Denmark, and referring within itself to relics of older drama that Shakespeare may have seen as a boy in Stratford. Hamlet looks both backwards and forwards in time. The play also covers a remarkable range of emotional states, including anger, love, hatred, grief, melancholy and despair. Indeed, Hamlet stages a plethora of emotional practices: a funeral and a marriage, a vindictive ghost in purgatory, a young woman whose mental equilibrium has been dislodged by the murder of her father by her own erstwhile lover, an inscrutable monarch under suspicion of murder, a couple of mordantly cheerful gravediggers, and a young prince back from university and grieving for his deceased father. This symposium invites new readings of the play, focusing on any aspect of its emotional life in the widest sense.

We envisage papers from a range of disciplines and points of view, which may contribute to any of the Centre’s four research programs – Meanings, Change, Performance or Shaping the Modern. Some possible areas of discussion are mentioned below, but they are by no means exclusive. We aim at producing a book proposal, so completed papers ready for publication will save time when approaching a publisher. Please send proposals for 20-minute papers, including a title and presenter details, to Paul Megna ( by Tuesday 28 February 2017.

Kevin Curran (University of Lausanne)
Richard Meek (University of Hull)
Kathryn Prince (University of Ottawa)
Naya Tsentourou (University of Exeter)

*How scholarship on the history of the emotions can help us to better understand Hamlet and vice versa
*Emotional regimes, communities and practices in Hamlet
*Emotions and language
*Hamlet, melancholy and depression
*Female consciousness
*Revenge and anger in Hamlet
*Hamlet and non-Shakespearean Elizabethan and Jacobean theatre and literature
*Emotional accounts of the afterlife and other religious ideas in Hamlet
*Hamlet’s emotional medievalism and allusions to medieval drama
*Nostalgia in Hamlet, as well as nostalgia for Hamlet in adaptations, appropriations and re-writings
*Gendered emotion in Hamlet and its descendants
*Emotional reactions to Hamlet through the centuries
*Hamlet’s influence on theories of emotion
*Emotions in adaptations of Hamlet (including novels, movies, popular culture).
*Staging of passions, perturbations, affections, etc.

Draft program for ANZSA conference

A draft program for the Waikato conference is now available:


Lloyd Davis Memorial Prize

ANZSA is pleased to announce that the Lloyd Davis Memorial Prize will be awarded to the best graduate essay presented at the Shakespeare at the Edges conference at the University of Waikato, Hamilton.

The prize is a cheque for $500 AUD and mentoring support towards the peer-reviewed publication of the paper, provided by a senior member of ANZSA.

You are eligible to enter for the prize if
1. You are presenting a paper at Hamilton &

2. You are enrolled as an Honours, Masters or PhD student or its equivalent. If you have submitted your thesis but it has not been examined, you would still be eligible.

To enter for the prize you should prepare a version of the paper you are giving, suitable for delivery in 20 minutes (8-10 double spaced pages), complete with endnotes/works cited.

Submit this paper to:
David McInnis ( and Jennifer Clement (

The deadline for electronic submission is midnight, 31 October 2016.

NB. Your name should be given only in the cover message, not on the paper.

CFP: Beyond 400 – New Shakespeares

Beyond 400: New Shakespeares
A Symposium

Download the flyer: Beyond400

After a year-long celebration of the quatercentenary of Shakespeare’s death, it’s time to move from reflection to future directions. What will Shakespearean text and performance look like, beyond the 400 year anniversary? This symposium will draw on the expertise of its four keynote speakers to focus on questions of editing and performance.

Keynote Speakers:

“Defining Shakespeare”
Prof. John Jowett (Shakespeare Institute)

“Defining the BBC 2012 & 2016 Shakespeare Seasons in Festival Terms”
Dr Sarah Olive (York)

“Canon, Chronology and Collaboration in Shakespeare’s Early Career”
Dr Will Sharpe (Shakespeare Institute)

“Shakespeare and the Digital Sphere: Performance and the Public in the RSC/Google+’s Midsummer Night’s Dreaming”
Dr Erin Sullivan (Shakespeare Institute)

University of Melbourne
15 November 2016

If you would like to present a paper, proposals for short, 10 minute papers are now invited. Please send your name, a 100 word bio, and a 200 word (max) abstract to Miriam Webster ( by Monday 01 August 2016.

NB. This symposium has been scheduled such that ANZSA delegates heading to Hamilton ( can come to Melbourne first, spend the following day (16 Nov) in transit, and arrive comfortably for the start of the ANZSA conference at the University of Waikato.

There is no registration fee, and auditors are extremely welcome. Please register your intention to attend here:

April 23ish events

A work in progress — all events are April 23 except where specified.

*Please do let us know of any others for circulation!*


Forum: “Shakespeare on Screen”. Dr. Jennifer Clement and Dr. Lisa Bode (chairs), with Professor Peter Holbrook (University of Queensland); Dr Yvonne Griggs (University of New England); Associate Professor Rob Pensalfini (University of Queensland); Associate Professor Laurie Johnson (University of Southern Queensland); Dr Brandon Chua (University of Queensland); Dr Christian Long (University of Queensland and the Queensland University of Technology). 1pm, GOMA, Queensland Art Gallery.


Public talk: Prof. Ian Gadd (Bath Spa U) and Prof. Ian Donaldson (Melbourne), “Celebrating Shakespeare: In Conversation”, 2-3pm, Theatre, Lower Ground 1, National Library of Australia. $15 (includes refreshments).


Public talk: Dr Mark Houlahan (Waikato), ““You Get a Feed There” – The New Zealand Shakespeare hut and other Shakespeare tales from 1916″, Waikato Museum, 1030-1130am.


Public talk: Dr David McInnis (Melbourne), “The Lost Shakespeare Apocrypha”, Melbourne Shakespeare Society, St Francis Church (cnr Lonsdale / Elizabeth Sts), $7 donation entry. 2-3pm.

Book launch: Dr Rob Conkie (La Trobe), Writing Performative Shakespeares: New Forms for Performance Criticism (Cambridge UP). Fortyfivedownstairs, 330pm. Plus art exhibition by Bernard Caleo of drawings of the rehearsal process of The Merry Wives of Windsor (at 430pm, with exhibition talk, “Drawing and rehearsing The Merry Wives” at 530pm).

Public talk: Prof. Ian Gadd (Bath Spa), “© William Shakespeare”, Wednesday 27 April, 630-730pm, Macmahon Ball Theatre, Old Arts, University of Melbourne.


Public symposium: Danijela Kambaskovic, Bríd Phillips, Susan Broomhall, R. S. White and Brett D. Hirsch, “Shakespeare — 400 — Emotions”, Tues 26 April, 6-8pm, Theatre Auditorium, The University Club of Western Australia

Conkie book launch + Merry Wives gala event

If you’re near Melbourne on the deathiversary, come along and help Rob Conkie launch his new book, Writing Performative Shakespeares: New Forms for Performance Criticism (Cambridge University Press, 2016). This also happens to work in conjunction with the opening of Shakespeare’s The Merry Wives of Windsor which is playing at fortyfivedownstairs this April, and which Rob has directed. This production ties in with the Shakespeare400 celebrations happening world-wide.

The gala event will be taking place on April 23rd, at 3:30PM at fortyfivedownstairs with the book launch, an art exhibition by Bernard Caleo of drawings of the rehearsal process of The Merry Wives of Windsor will follow 4:30PM and an exhibition talk: ‘Drawing and rehearsing The Merry Wives’ at 5:30PM.

Tickets can be found here:

Flyer: The Merry Wives of Windsor

Press release: The Merry Wives of Windsor Press Release

ANZSA 2016 conference CFP

ANZSA 2016: Shakespeare at the Edges
University of Waikato, Hamilton, NZ
17-19 Nov. 2016

The Australia and New Zealand Shakespeare Association (ANZSA) calls for papers for its biennial conference Shakespeare at the Edges. We meet at the edge of Shakespeare’s World―12,000 miles from Shakespeare’s Globe. The location of the conference is a chance in the quadricentennial year to think about “edges” in Shakespeare from a wide range of perspectives. Papers might consider (but not feel restricted to) the following:

• Does it mean anything to read/perform Shakespeare at the edges? Does location continue to make a difference?
• Does 2016 represent an edge in Shakespeare Studies? Where have we come to over four hundred years and where should we go to next? Are some lines of inquiry leased out? Are others opening up in, say, performance studies, digital/media approaches, new archival studies?
• How does thinking about the edges (paratexts) of the play text or the stage enrich understanding of early modern theatricality?
• What happens if we place Shakespeare at the edge and place other writers at the centre? Should we reshape our sense of the Early Modern?
• Is Shakespeare edgy? Does he explore “edges” as some have claimed? Where and how is he edgy, and where does he play it safe?

The Conference will feature plenary and panel sessions, live performance and film screenings. Conference highlights include keynote addresses by Lisa Hopkins (Shakespeare on the Edge, 2005, and Renaissance Drama on the Edge, 2014); and Margaret Jane Kidnie (Shakespeare and the Problem of Adaptation, 2009, and Shakespeare and Textual Studies, ed. with Sonia Massai, 2015); and a special performance for delegates of Regan Taylor’s commedia-inspired Maori adaptation: Solothello. Proposals for panels, papers, and interactive workshops are all welcome.

Inquiries and proposals should be sent to: by July 1, 2016.

Proposals of 200 words should include a 50-word bio noting institutional affiliations (if any). Research Higher Degree students will be invited to submit their paper in advance for the Lloyd Davis Memorial Prize for best postgraduate paper. The best paper will receive an award and scholarly mentoring from a senior member of ANZSA. Details for the prize, and notification of a professional seminar for grad/post grad researchers on the afternoon of November 16, will be circulated later.


Travel to Hamilton (for ANZSA and BSANZ), November 2016.

The University of Waikato is on the fringes of Hamilton, New Zealand. It is about 90 minutes south of Auckland airport, and on the main state highway, called, imaginatively, State Highway 1. The main ways to get to Hamilton will be

  1. Intercity Buses runs an express service several times a day from the Auckland International and Domestic Terminal. This goes directly to central Hamilton. $20.00 NZ each way.
  2. Several shuttles run regularly from Auckland Airport to Hamilton. At the University we often use Roadcat: The shuttles regularly pick up and drop off at the University.
  3. You can hire cars from the main rental agencies and pick up from Auckland airport. This might suit a group travelling together, or those planning to do some touring. The highways are very well maintained!
  4. Hamilton does have an airport and there are connections to Auckland several times a day. Usually these are inconveniently timed and quite expensive. But it can be done. The airport is about 20 minutes drive from the centre of Hamilton.


Mark Houlahan, English Programme, University of Waikato
ANZSA President and Conference Convenor:

3 CHE events

Details below of three Centre for the History of Emotions events:

Merry Wives of Windsor

With 2016 commemorating the 400th anniversary of Shakespeare’s death, this new production by Melbourne’s Nothing But Roaring of Shakespeare’s funniest play of love and lies, fidelity and forgiveness, will transform the New Fortune Theatre into a chamber of laughter. The play features the corrupt and cowardly knight, Sir John Falstaff, who accompanied Prince Hal in Henry IV. In Falstaff’s latest escapades, he attempts to woo two wealthy married women. Rather than turn down the buffooning Falstaff, the ladies conspire to have a laugh (and a little vengance) at his expense.

For advanced study of the play, a free symposium with international experts will be held at UWA on Wednesday 17 February 2016 from 10am to 4pm. This symposium runs in conjunction with the performances of Shakespeare’s The Merry Wives of Windsoron the New Fortune Theatre, 16–18 February 2016. It brings together international experts on the play and on theatre history. The emphasis will be on these presentations and discussion, so other papers are not invited.


The Tragical History of Margaret of Anjou: A Dramatised Reading

CFP: Shakespeare and Music Studies: From theory into practice

CFP: Symposium

Shakespeare and Music Studies: From theory into practice.


Friday 4th November 2016.

Monash University, Caulfield Campus H.8.04 – 06


Hosted by

The Monash Shakespeare Company & The Melbourne Shakespeare Society


Call for papers

When the field of Shakespeare and music studies emerged in the late-nineteenth century, it mainly concerned itself with the problems reconstructing the musical materials and practices of early modern theatre cultures. Since then, the field has evolved to encompass a vast body of methodologies and contexts, incorporating discussions of literature and history, and linking them to musical and theatre practices. As the field stands today, it is characterised by its eclecticism, even as it asserts its intrinsic value to Shakespeare studies more generally.

This symposium calls upon these diverse areas of expertise that make up the modern field to assist in identifying and developing strategies for the integration of music into productions of Shakespeare. We invite submissions from theatre and music practitioners, academics in literature, theatre, history and music studies, as well as postgraduate and undergraduate students, to contribute to this conversation. We impose no particular restrictions on paper topics, provided they are generally relevant to the field of Shakespeare and music studies. However, the following questions may act as a guide to submissions:

  • Why should music be considered a priority in the production of Shakespeare?
  • How can an understanding of early-modern music practice be applied to modern theatre productions?
  • How can knowledge of modern musical practices be applied to the staging of Shakespeare?
  • What specific challenges do composers face when setting Shakespeare’s language to music?
  • What types of musical resources can small theatre companies employ when staging Shakespeare?
  • How can theatre directors employ music in audition, rehearsal and production processes?


NB – Since the symposium will be practice-focused, we are also interested in considering workshop sessions.


Please submit an abstract or proposal of approximately 200 words to by 1st May 2016. Some travel bursaries will be available for interstate or international scholars. All submitted papers will also be considered for inclusion in an edited volume.

Archived Posts