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.

CFP: Shakespeare – The Next 400 Years

Elsinore Conference 2016





In 2005, the Chinese University of Hong Kong first hosted the Chinese Universities’ Shakespeare Festival.  The goal of the festival was to have Chinese speaking universities submit a 20 minute interpretation of one of Shakespeare’s plays.  The restrictions were that each submission could be no more than 20 minutes long, text from the plays only, and the casting was restricted to 3 actors.  This festival created some very interesting and intriguing presentations and interpretations.  The last festival occurred in 2014.

For this conference, the seminar will have a two-pronged approach.  Papers on adaptations of Shakespeare, in any format, are welcome as are 20 minute Shakespeare presentations, using the remit of the CUSF as the format of the presentation.  It is our hope that there will be a number of presentations that will include students and faculty as well as scholars and researchers.  The boundaries of this seminar are quite fluid except for the CUSF format.

Please submit proposals/abstracts of approximately 150-200 words by Monday, 15 December 2015 to

For further information, please contact Dr. Ian Maclennan at

Sprott Fellowship extended deadline

The S. Ernest Sprott fellowship is to be awarded annually to an Australian citizen who is an outstanding scholar less than 45 years of age at the time of the award. It is a fellowship for scholarly study outside of Australia which is intended to lead to a book relating to dramatic or non-dramatic English literature of the sixteenth or seventeenth centuries.

Closing Date:

Extended to Tuesday 7 July 2015

Approximate value: $40,000

Further Information:
Flyer 2015 Sprott fellowship Extended closing date

John Bell, Shakespeare and the Quest for a New Australian Theatre

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.

Digital Renaissance Editions launched

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!

Postdoctoral Fellowship in Studies of Early Modern Europe (McGill)

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 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: Jan Kott Our Contemporary: Contexts, Legacies, New Perspectives

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:

Alternatively you may use this postal address:
Aneta Mancewicz and Richard Wilson
Kingston University
Faculty of Arts and Social Sciences
Penrhyn Road
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);

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