Congrès 2016: Shakespeare après Shakespeare

Cette page vous permet d’acheter des billets à tarif préférentiel pour assister aux représentations de The Winter’s Tale (Les Gémeaux, Sceaux) ou Richard III (Théâtre de l’Odéon) pendant le congrès 2016.

Options:

  • mercredi 20 janvier 2016: Richard III à 19h30 ou The Winter’s Tale à 20h45
  • jeudi 21 janvier 2016: The Winter’s Tale à 20h45 (épuisé)
  • vendredi 22 janvier 2016: Richard III à 19h30 (épuisé)

Pour des descriptions des pièces, cliquez sur ces liens : présentation de Richard III ; présentation de The Winter’s Tale.

L’offre pour Richard III concerne des places de 2e série à 21 € (au lieu de 28€). L’offre pour The Winter’s Tale propose des places à 14 € (au lieu de 34 €).

Important:

  1. Vous devez obligatoirement activer l’option ‘Inscription’ ci-dessous avant de choisir 1 ou 2 billets dans les autres menus déroulants.
  2. Vous serez ensuite priés de payer avec une carte bancaire via un bouton Paypal. Vous n’avez pas besoin d’un compte Paypal pour effectuer ce paiement. Les frais ajoutés (‘sales tax’) correspondent aux frais Paypal.
  3. Les billets seront transmis par la Société Française Shakespeare ou à votre disposition directement au Théâtre (modalités à préciser par courrier).

EVENTS DURING SHAKESPEARE AFTER SHAKESPEARE

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Registration is closed for this event.
For more information or questions, please email:
contact@societefrancaiseshakespeare.org

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2016 conference: Shakespeare after Shakespeare

This page allows you to purchase discount fare tickets for The Winter’s Tale (Les Gémeaux, Sceaux; performance in English) or Richard III (Théâtre de l’Odéon; performance in French, without subtitles) during the 2016 conference.

Options:

  • Wed. 20 January 2016: Richard III at 19h30 or The Winter’s Tale at 20h45
  • Thurs.  21 January 2016: The Winter’s Tale at 20h45 (sold out)
  • Fri. 22 janvier 2016: Richard III at 19h30 (sold out)

For a description of each show, click on the following links: presentation of Richard III ; presentation of The Winter’s Tale.

Tickets for Richard III cost 21 € (instead of 28€). Tickets for The Winter’s Tale cost 14 € (instead of 34 €).

Important:

  1. You must select ‘Inscription / Registration’ in the menu below before you select 1 or 2 tickets in the other menus.
  2. Once you complete the form below, you will be directed to a page with a Paypal button. You do not need a Paypal account to pay. The ‘sales tax’ correspond to Paypal fees.
  3. Tickets will be held for you by the Société Française Shakespeare or can be picked up at the ticket office of each theater (instructions will be sent to you via email with details).

EVENTS DURING SHAKESPEARE AFTER SHAKESPEARE

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Registration is closed for this event.
For more information or questions, please email:
contact@societefrancaiseshakespeare.org

Comments are closed.

Congrès 2015 : Jeunesse(s) de Shakespeare

Cette page vous permet d’acheter des billets à tarif préférentiel (19€ au lieu de 30€) pour assister aux représentations des mardi 17, mercredi 18 ou  jeudi 19 mars 2015 de La Mégère apprivoisée, mise en scène par Mélanie Leray, au Théâtre de la Ville (Paris).

Important:

  1. Vous devez obligatoirement activer l’option ‘Inscription’ ci-dessous avant de choisir 1 ou 2 billets dans les autres menus déroulants.
  2. Vous serez ensuite priés de payer avec une carte bancaire via un bouton Paypal. Vous n’avez pas besoin d’un compte Paypal pour effectuer ce paiement. Les frais ajoutés (‘sales tax’) correspondent aux frais Paypal.
  3. Les billets seront transmis par la Société Française Shakespeare ou à votre disposition directement au Théâtre (modalités à préciser par courrier).

YOUNG SHAKESPEARE CONFERENCE EVENTS

Show/Hide Details

Registration is closed for this event.
For more information or questions, please email:
contact@societefrancaiseshakespeare.org

Comments are closed.

Billets

Macbeth Cartoucherie
Macbeth, mise en scène Ariane Mnouchkine. Théâtre du Soleil, Cartoucherie
Horaire: 19h30, samedi à 13h30 et à 19h30.

L’achat pour des billets les 25, 27, et 28 juin est clos.

Les billets seront à retirer au théâtre 30mn avant la représentation.

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Programme

To download the printed programme PDF, click on the image below:

Shakespeare450-programmeShakespeare450-programme.pdf

Each day will feature:

Schedule

Monday 21 April
Main venue: Odéon Théâtre de l’Europe
8h-10h Registration
Institut du monde anglophone, 5 rue de l’École de médecine, 75006 Paris
11h-12h Inaugural conference: Yves Bonnefoy (Collège de France, member of PSL)
Pourquoi Shakespeare ?
12h-13h Plenary: Andreas Höfele (Munich)
Elsinore – Berlin: Hamlet
in the Twenties
13h-15h Buffet
15h-16h Roundtable 1 with stage director Luc Bondy and Georges Lavaudant, with Georges Banu
16h-17h Roundtable with stage director Thomas Jolly and his team, chaired by Leila Adham and Jean-Michel Déprats
17h-17h30 Pause
17h30-19h Masterclass with actors Philippe Calvario, Vincent Dissez and Émeric Marchand
19h30-22h Bateaux-mouches
or pre-screening of Othello (dir. O. Welles)
Tuesday 22 April
Venues: École des Mines-ParisTech and ENS
9h-10h30 Panel 3 A: Shakespeare Jubilees on three Continents (1864 and 1964)
Panel 7: Telling Tales of / from Shakespeare: Indian Ishtyle
Panel 20: Moving Shakespeare: Approaches in Choreographing Shakespeare
Panel 24: Shakespeare’s World in 1916
10h30-11h Pause
11h-12h30 Panel 3 B: Shakespeare Jubilees on three Continents (1864 and 1964)
Panel 17 A: Shakespeare and the Popular Culture within/Beyond the Asian Identities
Panel 27: Speaking ‘but in the figures and comparisons of it’? Figurative speech made literal in Shakespeare’s drama / page and stage
Panel 28 A: Shakespearean festivals and anniversaries in Cold War Europe 1947-1988
12h30-14h Lunch
14h-15h Plenary: Ton Hoenselaars (Utrecht)
Great War Shakespeare: ‘Somewhere in France’
15h-15h30 Pause
15h30-17h30 Seminar 3: The Many Lives of William Shakespeare: Collaboration, Biography and Authorship
Seminar 6: Global Shakespeare as Methodology
Seminar 16: The Celebrated Shakespeare: public commemoration and biography
Seminar 20: ‘The web of our life is of a mingled yarn, good and ill together’: The Nature of Problem in Shakespearean Studies
Workshop 4: Shakespeare Theatre Needs Francophone Actors
19h30-22h Film-concert: Hamlet, Sven Gade. Score by Robin Harris
Wednesday 23 April
Venue: École des Mines-ParisTech
9h-10h30 Panel 13 A: Popular Shakespeares in East Asia: Local and Global Dissemination
Panel 15 A: Celebrating Shakespeare: Commemoration and Cultural Memory
Panel 17 B: Shakespeare and the Popular Culture within/Beyond the Asian Identities
Panel 28 B: Shakespearean festivals and anniversaries in Cold War Europe 1947-1988
10h30-11h Pause
11h-13h Seminar 9: Legal Perspectives on Shakespearean Theatre
Seminar 12: ‘Green’ or Ecocritical Shakespeare: non-human nature as a character in his plays
Seminar 13: The Shakespeare Circle
Seminar 15: Shakespeare in French Film/France in Shakespearean Film
13h-14h Lunch
14h-15h Plenary: Peter Holland (Notre Dame, USA)
Commemorating Shakespeare: From Westminster Abbey to Stratford-upon-Avon and beyond
16h-17h30 Panel 11: ’The Undiscovered Country – the Future’: Shakespeare in Science Fiction
Panel 15 B: Celebrating Shakespeare: Commemoration and Cultural Memory
Panel 31: Translations of Hamlet in Minority Cultures/Minor Languages
16h-18h Workshop 3: Textual and verse analysis in relation to performance: a workshop to read Shakespeare from the performer’s viewpoint
Journée théâtre (parallel sessions open to the public)
Location: Amphi Louis Liard (Sorbonne)
11h-12h Plenary: Joël Huthwohl (BnF)
Shakespeare dans les collections du départements des Arts du Spectacle de la BnF
12h-13h Plenary: Michèle Willems (Université de Rouen)
Avec ou ‘sans muselière’? Les traductions de Shakespeare, de Voltaire à François-Victor Hugo
15h-16h Interview with Christian Schiaretti, hosted by Jean-Michel Déprats
16h-17h Interview with Stuart Seide, hosted by Jean-Michel Déprats
17h-18h Interview with Angela Antonini and Paola Traverso on their performance of Giordano Bruno’s Candelaio
19h-21h Cocktail-Reception (venue details in welcome pack)
Thursday 24 April
Venues: École des Mines-ParisTech and Maison des Mines
9h-10h30 Panel 8: Shakespeare and ‘th’intertrafique’ of French and English Texts and Manners
Panel 13 B: Popular Shakespeares in East Asia: Local and Global Dissemination
Panel 21: Diplomacy, International Relations and The Bard in the Pre- and Post-Westphalian Worlds
Panel 26: Shakespeare in French Theory
Workshop 6: The archaeological contribution to Shakespeare studies
10h30-11h Pause
11h-12h30 Panel 1: Shakespeare in Brazilian Popular Culture
Panel 14 A: Shakespeare and Levinas
Panel 16: Shakespeare and Architecture
Panel 18: «As You Like It» : La psychanalyse à la rencontre de Shakespeare
12h30-14h Lunch
14h-15h Plenary: Michèle le Dœuff (CNRS)
Comme il nous plaira
15h-15h30 Pause
15h30-17h30 Seminar 2: Biology through Shakespeare
Seminar 7: ‘In this distracted globe’?: Cognitive Shakespeare
Seminar 19: Shakespeare and Global Girlhood
Seminar 21: Shakespeare Festivals in the 21st Century
Workshop 1: Argentina Shakespeare Association weblink
19h30-23h30 Opera / Theater: I Capuletti e i Montecchi, Bellini (Opera Bastille)
or Macbeth (run-through rehearsal), dir. Ariane Mnouchkine (Cartoucherie)

or Tartuffe, dir. Luc Bondy (Odéon)
Friday 25 April
Venue: École des Mines-ParisTech
9h-10h30 Panel 2 A: Shakespeare and Science
Panel 4: Secular Shakespeares
Panel 9: Bakhtinian Forays into Shakespeare
Panel 22: Shakespeare and Marlowe
10h30-11h Pause
11h-12h30 Panel 2 B: Shakespeare and Science
Panel 12: Crossroads: 21st century perspectives on Shakespeare’s Classical Mythology
Panel 14 B: Shakespeare and Levinas
Panel 19: ‘This Earth’
12h30-14h Lunch
14h-15h Plenary: Dominique de Font-Réaulx (Musée Delacroix)
Les origines théâtrales de la photographie
15h-16h Plenary: François Laroque (Université Paris 3 – Sorbonne Nouvelle)
The plague of custom’. Shakespeare’s ambivalent anthropology
16h-18h Seminar 1: Shakespeare on Film: The Romances
Seminar 4: Early Shakespeare
Seminar 8: La fabrique du personnage shakespearien
Seminar 17: Shakespeare and Denotement
Workshop 2 : Shakespeare: Wherefore Art Thou: The places in his plays and the places that he knew
19h-22h Special screening of Les Enfants du Paradis (dir. M. Carné) at the Louxor
or Giordano Bruno’s Candelaio (dir. Angela Antonini and Paola Traverso)
Saturday 26 April
Venues: École des Mines-ParisTech and ENS
9h-10h30 Panel 5 A: Born before and after Shakespeare
Panel 10 A: Shakespeare and Natural History
Panel 23: Shakespeare, Satire and ‘Inn Jokes’
Panel 25: Shakespeare et les romans hispano-américains
10h30-11h Pause
11h-12h30 Panel 5 B: Born before and after Shakespeare
Panel 10 B: Shakespeare and Natural History
Panel 29: The ends and means of knowing in Shakespeare and his world
Panel 30: Shakespeare et le roman
12h30-13h30 Lunch
13h30-14h30 Plenary : Sarah Hatchuel (Le Havre)
The Shakespearean Films of the 1990s: Afterlives in transmedia
14h30-15h Pause
15h-17h Seminar 5: Shakespeare and the Visual Arts
Seminar 10: Shakespeare and Slavic / East and Central European Countries
Seminar 11: “It’s Shakespearian!”: The critical fortune of a commonplace in France from 1820 to the present
Seminar 14: ’Many straunge and horrible events’: Omens and Prophecies in Histories and Tragedies by Shakespeare and His Contemporaries
Seminar 18: Shakespeare, Middleton and fatherless lineage
Workshop 5: Working from cue scripts: An actor’s approach to performing duologues
18h-21h Réception, Prix du mémoire, and concert by the vocal ensemble “Notta Strana” (venue details in registration pack)
19h-22h Theater : Othello, dir. Léonie Simaga (Théâtre du Vieux-Colombier)
or Macbeth (run-through rehearsal, Cartoucherie)
or I Capuleti e i Montecchi (Opera)
Sunday 27 April
10h-12h General Assembly of the Société Française Shakespeare
Museum visits (Musée Delacroix, Musée Victor Hugo…)
12h-14h Lunch
14h-18h Visit and performance at the Basilique St-Denis

Comments are closed.

Programme

Pour télécharger le programme imprimé, cliquez sur l’image ci-dessous:

Shakespeare450-programmeShakespeare450-programme.pdf

Le programme propose chaque jour :

Programme

HORAIRE PROGRAMME
Lundi 21 avril
Lieu : Théâtre de l’Odéon
8h-10h Inscription
Institut du monde anglophone, 5 rue de l’École de médecine, 75006 Paris
11h-12h Conférence inaugurale: Yves Bonnefoy (Collège de France, membre de PSL)
Pourquoi Shakespeare ?
12h-13h Plénière: Andreas Höfele (Munich)
Elsinore – Berlin: Hamlet
in the Twenties
13h-15h Buffet
15h-16h Table-ronde La Cour des Grands avec Luc Bondy et Georges Lavaudant, entretien conduit par Georges Banu
16h-17h Table-ronde avec Thomas Jolly et son équipe, conduite par Leila Adham et Jean-Michel Déprats
17h-17h30 Pause
17h30-19h Masterclass dirigée par les comédiens Philippe Calvario, Vincent Dissez et Émeric Marchand
19h30-22h Bateaux-mouches
ou avant-première de Othello (réal. Orson Welles) en version restaurée
Mardi 22 avril
Lieux : École des Mines-ParisTech et ENS
9h-10h30 Panel 3 A: Shakespeare Jubilees on three Continents (1864 and 1964)
Panel 7: Telling Tales of / from Shakespeare: Indian Ishtyle
Panel 20: Moving Shakespeare: Approaches in Choreographing Shakespeare
Panel 24: Shakespeare’s World in 1916
10h30-11h Pause
11h-12h30 Panel 3 B: Shakespeare Jubilees on three Continents (1864 and 1964)
Panel 17 A: Shakespeare and the Popular Culture within/Beyond the Asian Identities
Panel 27: Speaking ‘but in the figures and comparisons of it’? Figurative speech made literal in Shakespeare’s drama / page and stage
Panel 28 A: Shakespearean festivals and anniversaries in Cold War Europe 1947-1988
12h30-14h Déjeuner libre
14h-15h Plénière: Ton Hoenselaars (Utrecht)
Great War Shakespeare: ‘Somewhere in France’
15h-15h30 Pause
15h30-17h30 Séminaire 3: The Many Lives of William Shakespeare: Collaboration, Biography and Authorship
Séminaire 6: Global Shakespeare as Methodology
Séminaire 16: The Celebrated Shakespeare: public commemoration and biography
Séminaire 20: ‘The web of our life is of a mingled yarn, good and ill together’: The Nature of Problem in Shakespearean Studies
Atelier 4: Shakespeare Theatre Needs Francophone Actors
19h30-22h Film-concert: Hamlet, Sven Gade. Musique originale de Robin Harris
Mercredi 23 avril
Lieu : École des Mines-ParisTech
9h-10h30 Panel 13 A: Popular Shakespeares in East Asia: Local and Global Dissemination
Panel 15 A: Celebrating Shakespeare: Commemoration and Cultural Memory
Panel 17 B: Shakespeare and the Popular Culture within/Beyond the Asian Identities
Panel 28 B: Shakespearean festivals and anniversaries in Cold War Europe 1947-1988
10h30-11h Pause
11h-13h Séminaire 9 : Legal Perspectives on Shakespearean Theatre
Séminaire 12 : ‘Green’ or Ecocritical Shakespeare: non-human nature as a character in his plays
Séminaire 13: The Shakespeare Circle
Séminaire 15: Shakespeare in French Film/France in Shakespearean Film
13h-14h Déjeuner libre
14h-15h Plenary: Peter Holland (Notre Dame, États-Unis)
Commemorating Shakespeare: From Westminster Abbey to Stratford-upon-Avon and beyond
16h-17h30 Panel 11: ’The Undiscovered Country – the Future’: Shakespeare in Science Fiction
Panel 15 B: Celebrating Shakespeare: Commemoration and Cultural Memory
Panel 31: Translations of Hamlet in Minority Cultures/Minor Languages
16h-18h Atelier 3: Textual and verse analysis in relation to performance: a workshop to read Shakespeare from the performer’s viewpoint
Journée théâtre : Session parallèle. Entrée libre
Lieu : Amphi Louis Liard (Sorbonne)
11h-12h Plénière : Joël Huthwohl (BnF)
Shakespeare dans les collections du départements des Arts du Spectacle de la BnF
12h-13h Plénière : Michèle Willems (Université de Rouen)
Avec ou ‘sans muselière’? Les traductions de Shakespeare, de Voltaire à François-Victor Hugo
15h-16h Rencontre avec Christian Schiaretti, conduite par Jean-Michel Déprats
16h-17h Entretien avec Stuart Seide, conduite par Jean-Michel Déprats
17h-18h Entretien avec Angela Antonini et Paola Traverso, «Aux sources de Shakespeare», sur leur mise en scène du Candelaio de Giordano Bruno
19h-21h Réception (lieu précisé dans le pack d’accueil)
Jeudi 24 avril
Lieux : École des Mines-ParisTech et Maison des Mines
9h-10h30 Panel 8: Shakespeare and ‘th’intertrafique’ of French and English Texts and Manners
Panel 13 B: Popular Shakespeares in East Asia: Local and Global Dissemination
Panel 21: Diplomacy, International Relations and The Bard in the Pre- and Post-Westphalian Worlds
Panel 26: Shakespeare in French Theory
Atelier 6: The archaeological contribution to Shakespeare studies
10h30-11h Pause
11h-12h30 Panel 1: Shakespeare in Brazilian Popular Culture
Panel 14 A: Shakespeare and Levinas
Panel 16: Shakespeare and Architecture
Panel 18: «As You Like It» : La psychanalyse à la rencontre de Shakespeare
12h30-14h Déjeuner libre
14h-15h Plénière: Michèle le Dœuff (CNRS)
Comme il nous plaira
15h-15h30 Pause
15h30-17h30 Séminaire 2: Biology through Shakespeare
Séminaire 7: ‘In this distracted globe’?: Cognitive Shakespeare
Séminaire 19: Shakespeare and Global Girlhood
Séminaire 21: Shakespeare Festivals in the 21st Century
Atelier 1: lien web avec l’Association Shakespeare en Argentine
19h30-23h30 Opera: I Capuleti e i Montecchi, Bellini
ou Macbeth (filage; dir. Ariane Mnouchkine, Cartoucherie)
ou Tartuffe (dir. Luc Bondy, Odéon)
Vendredi 25 avril
Lieu : École des Mines-ParisTech
9h-10h30 Panel 2 A: Shakespeare and Science
Panel 4: Secular Shakespeares
Panel 9: Bakhtinian Forays into Shakespeare
Panel 22: Shakespeare and Marlowe
10h30-11h Pause
11h-12h30 Panel 2 B: Shakespeare and Science
Panel 12: Crossroads: 21st century perspectives on Shakespeare’s Classical Mythology
Panel 14 B: Shakespeare and Levinas
Panel 19: ‘This Earth’
12h30-14h Déjeuner libre
14h-15h Plénière: Dominique de Font-Réaulx (Musée Delacroix)
Les origines théâtrales de la photographie
15h-16h Plénière: François Laroque (Université Paris 3 – Sorbonne Nouvelle)
The plague of custom’. Shakespeare’s ambivalent anthropology
16h-18h Séminaire 1: Shakespeare on Film: The Romances
Séminaire 4: Early Shakespeare
Séminaire 8: La fabrique du personnage shakespearien
Séminaire 17: Shakespeare and Denotement
Atelier 2 : Shakespeare: Wherefore Art Thou: The places in his plays and the places that he knew
19h-22h Projection exceptionnelle des Enfants du Paradis (réal. M. Carné) au Louxor
ou Candelaio de Giordano Bruno (dir. Angela Antonini et Paola Traverso)
Samedi 26 avril
Lieux : École des Mines-ParisTech et ENS
9h-10h30 Panel 5 A: Born before and after Shakespeare
Panel 10 A: Shakespeare and Natural History
Panel 23: Shakespeare, Satire and ‘Inn Jokes’
Panel 25: Shakespeare et les romans hispano-américains
10h30-11h Pause
11h-12h30 Panel 5 B: Born before and after Shakespeare
Panel 10 B: Shakespeare and Natural History
Panel 29: The ends and means of knowing in Shakespeare and his world
Panel 30: Shakespeare et le roman
12h30-13h30 Déjeuner libre
13h30-14h30 Plénière : Sarah Hatchuel (Le Havre)
The Shakespearean Films of the 1990s: Afterlives in transmedia
14h30-15h Pause
15h-17h Séminaire 5: Shakespeare and the Visual Arts
Séminaire 10: Shakespeare and Slavic / East and Central European Countries
Séminaire 11: “It’s Shakespearian!”: The critical fortune of a commonplace in France from 1820 to the present
Séminaire 14: ’Many straunge and horrible events’: Omens and Prophecies in Histories and Tragedies by Shakespeare and His Contemporaries
Séminaire 18: Shakespeare, Middleton and fatherless lineage
Atelier 5: Working from cue scripts: An actor’s approach to performing duologues
18h-20h Reception, Prix du mémoire et concert par l’ensemble vocal «Notta Strana» (lieu précisé dans le pack d’accueil)
19h-22h Théâtre : Othello, dir. Léonie Simaga (Théâtre du Vieux-Colombier)
ou Macbeth (filage; dir. A. Mnouchkine, Cartoucherie)
ou I Capuleti e i Montecchi (Opéra Bastille)
Dimanche 27 avril
10h-12h Assemblée générale de la Société Française Shakespeare
Visites de musées (Musée Delacroix, Musée Victor Hugo…)
12h-14h Déjeuner libre
14h-18h Visite et lecture-concert à la Basilique St-Denis

Comments are closed.

FAQ

Topics

Travel and visa
Food and Accommodation
Health emergencies
Program and schedule
Registration
Conference venue
Audiovisual equipment (AV) and Wifi
Contact

Travel and visa

Q: Do I need a visa?
A: See this website to check whether you are exempt or whether you need a visa: http://www.diplomatie.gouv.fr/en/coming-to-france/getting-a-visa/

Q: How far is the conference from the airport?
A: Please see the information posted on the Venue page.

Q: How can I obtain an invitation letter to request my visa?
A: All registered participants will receive a confirmation letter by email (PDF). If you require additional information to appear on the letter, please reply to that email and ask. 

Food and Accommodation

Q: Are there hotels close to the conference venue?
A: Yes, but with public transport, almost any hotel in Paris is close to the Venue.

Q: Do you recommend any hotel?
A: Please compare hotels and ratings online. For general suggestions, see Venue.

Q: Is there a conference hotel?
A: No. But you will find suggestions and websites on the Venue page.

Q: Where do I go for meals?
A: Delegates will be given a map of the conference area with recommendations on where to eat. There will be one buffet lunch on opening day for which prior registration is required. Additional meals may be provided (information will be posted online by March).

Q: I have food restrictions, how can I tell the organisers?
A: The ingredients of the buffet and dinner will be posted on the conference website a few weeks before the conference begins. If you find that you are allergic to any of the ingredients, you will then be able to contact the organisers.

Health emergencies

In case of sudden illness or accident, contact:

  • SAMU (ambulance): dial 15.
  • Police: dial 17.
  • Firefighters: dial 18.

Programme and schedule

Q: How long do panel, seminar and workshop sessions last?
A: Panel sessions last one hour and a half. Seminar and workshop sessions last two hours.

Q: Is there a limit to the number of participants in a panel, a seminar or a workshop?
A: Panel sessions are restricted to four speakers. A seminar or workshop session may have up to twenty participants.

Q: I will leave early / arrive late during the conference, can my session be scheduled early / late?
A: Please inform your seminar/panel organizers of your scheduling restrictions, they will get in touch with the conference organizers who will do their best to accommodate your needs.

Q: Can I change the title/abstract of my paper?
A: Yes, but only until January 15th, 2014. Please inform your seminar/panel organizers who must submit the final list to the conference organizers by that date. Any change after January 15th may not appear in the final printed program.

Q: When will the programme be posted online?
A: In February.

Q: Will the programme be printed and distributed at the conference?
A: Yes, in your conference pack.

Registration

Q: When must I register?
A: If you want to profit from the early fee, you need to register before January 15, 2014 (extended deadline for early fee registration). Late registrations will be possible until the day of the conference, with increased fees. See registration page for more information.

Q: Can I pay by cheque?
A: Yes, but only if your cheque is drawn from a French bank account in France. For all other accounts, please use Paypal or your credit card via Paypal.
If that does not work, you can do a wire transfer in EUROS to “Société Française Shakespeare” in the amount of your registration to the following account
IBAN: FR76 1027 8060 3100 0203 5530 357.
BIC code: CMCIFR2A.
Bank name: Crédit Mutuel.
Address: CCM Paris 1-2 Louvre Montorgueil, 28 rue Etienne Marcel, 75002 Paris, France. Please indicate “SH450” to identify the payment.

Q: Will I be given a certificate of participation?
A: All registered participants will be sent an invitation letter by email (PDF). Upon registration at the conference, they will be given a letter certifying their participation at the conference.

Q: What is the difference between registration online and registration at the conference?
A: Registration at the conference will  consist in distributing welcome packs and badges to those who registered online. The badge will be required for entrance at the venues and social or cultural events.

Q: Where will registration take place?
A: On the opening day, registration will take place at the Institut du Monde Anglophone, 5 rue de l’École de Médecine, 75005 Paris. All other days, registration will take place at the main conference venue (see Venue).

Q: Do I need to register?
A: Plenary lectures will be open to the public. But if you are participating in any panel, seminar or workshop, you must register. You must also register if you wish to attend the opening events and closing cocktail reception, and enjoy coffee/tea breaks as well as invitations and special discounts for cultural events during the conference.

Q: How is the registration fee calculated?
A: The Société Française Shakespeare organizing the conference is a non-profit association staffed by unpaid volunteers. The registration fee covers part of the organizing costs (coffee/tea breaks, printing, translation, services etc.). The fee is considerably lowered thanks to the generosity of conference sponsors and academic grants. See the list of our sponsors in the footer.

Q: What is the discount coupon code?
A: Please disregard this field as the feature is reserved for keynote speakers.

Conference venue

Q: Where will the conference take place?
A: The conference will open at Théâtre de l’Odéon and continue at the nearby Sorbonne and École des Mines, in the heart of the Quartier Latin. Cultural events will take place in other venues, all of which are easily accessible by public transport. Detailed information is available on the conference website (see Venue).

Q: Are the venues wheelchair-accessible?
A: Nearly all of the venues are wheelchair-accessible.

Audiovisual equipment and Wifi

Q: Will there be AV-equipped computers and screens at the conference?
A: Yes. If you plan on bringing your own computer, please bring your own set of cables.

Q: Will there be Wifi at the conference?
A: Some rooms may not be equipped with wifi. Others will have wifi with a login which will be provided onsite.

Q: What is the voltage in France?
A: 220V. If you have foreign plugs, please bring your own converters.

Q: What is the conference hashtag on Twitter?
A: #Shake450.

Contact

If you did not find an answer to your question after careful search of the conference website, please feel free to contact us.

Email: contact AT societefrancaiseshakespeare DOT org

Mobile phone: +33 7 71 13 40 04. This number will be operational during the conference week everyday from 7:45 to 20:30.

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FAQ

Foire aux questions

Voyage et visa
Nourriture et logement
Urgences médicales
Programme
Inscription
Lieu du congrès
Matériel audiovisuel  (AV) et Wifi
Contact

Voyage et visa

Q: Aurai-je besoin d’un visa?
R: Vérifiez sur ce site si vous avez besoin d’un visa ou si vous en êtes dispensé  http://www.diplomatie.gouv.fr/fr/venir-en-france-22365/#sommaire_2

Q: À quelle distance de l’aéroport se tiendra le congrès?
R: Vous trouverez toutes les informations nécessaires à la page Lieu.

Q: Comment obtiendrai-je une lettre  d’invitation pour ma demande de  visa?
R: Tous les participants inscrits recevront une lettre de confirmation d’inscrition par courriel (PDF). Si vous avez besoin que plus de renseignements figurent sur la lettre, répondez au courriel et demandez une nouvelle lettre en précisant ce qu’il vous faut.

Nourriture et logement

Q: Y a-t-il des hôtels proches du lieu du congrès?
R: Oui, mais par les transports en commun, pratiquement tout hôtel dans Paris sera relativement proche du lieu du congrès.

Q: Y a-t-il des hôtels que vous recommandez?
R: Nous vous conseillons de comparer les hôtels et les prix sur les sites en ligne. Pour des suggestions générales, voir la page Lieu.

Q: Où pourrai-je me restaurer?
R: Les participants recevront un plan du quartier indiquant un choix de restaurants conseillés. Ils seront invités à un déjeuner-buffet le jour de l’ouverture, pour lequel il leur faudra s’inscrire. Les jours suivants, la fourniture d’en-cas sera possible (des précisions sur ce point seront disponibles sur le site d’ici mars).

Q: J’ai des restrictions alimentaires, comment les signaler aux organisateurs?
R: Les ingrédients des menus et du buffet seront mis en ligne quelques semaines avant le congrès. Si vous êtes allergique à un ou plusieurs ingrédients, vous pourrez alors prendre contact avec les organisateurs.

Urgences médicales

En cas de maladie ou d’accident, contactez par téléphone:

  • SAMU (ambulance): faites le 15.
  • Police:  17.
  • Pompiers : 18.

Programme

Q: Quelle est la durée des panels, séminaires et ateliers?
R: Les panels durent une heure et demie, les séminaires et ateliers, deux heures.

Q: Y a-t-il un nombre limité de participants aux panels, séminaires ou ateliers?
R: Les panels sont limités à quatre orateurs. Un séminaire ou un atelier peut accueillir jusqu’à vingt participants.

Q: Je dois partir avant la fin / arriver après le début du congrès, est-il possible de programmer ma session plus tôt/ plus tard?
R: Pensez à informer les responsables de votre panel ou séminaire de vos contraintes. Ils se mettront en relation avec les organisateurs du congrès qui feront tout leur possible pour satisfaire votre requête.

Q: Puis-je modifier le titre/le résumé de mon intervention?
R: Oui, mais pas au-delà du 15 janvier 2014. Veuillez en informer les responsables de panel/séminaire qui doivent soumettre la liste définitive aux organisateurs du congrès avant cette date. Les changements signalés après le 15 janvier ne pourront pas apparaître dans le programme imprimé.

Q: Quand le programme sera-t-il mis en ligne?
R: En février.

Q: Le programme sera-t-il imprimé et distribué lors du congrès?
R: Oui, il sera inclus dans la pochette distribuée aux  congressistes lors de l’émargement.

Inscription

Q: Quand dois-je m’inscrire?
R: Si vous souhaitez bénéficier du tarif anticipé, vous devez vous inscrire avant le 15 janvier 2014. Les inscriptions tardives seront possibles jusqu’à l’ouverture du congrès, avec des tarifs plus élevés. Voir la page Inscription pour plus de renseignements.

Q: Puis-je payer par chèque?
R: Oui, mais seulement s’il est tiré sur un compte bancaire français en France (lire les instructions ici). Pour tout autre compte merci d’utiliser Paypal ou votre carte de crédit via Paypal.
Si cela présente des problèmes, vous pouvez faire un virement en  EUROS à “Société Française Shakespeare” du montant de votre inscription vers le compte suivant:
IBAN: FR76 1027 8060 3100 0203 5530 357.
BIC code: CMCIFR2A.
Nom de la banque: Crédit Mutuel.
Adresse de la banque: CCM Paris 1-2 Louvre Montorgueil, 28 rue Etienne Marcel, 75002 Paris.
Précisez “SH450” dans l’objet du mandat.

Q: Recevrai-je un certificat de participation ?
R: Tous les participants inscrits recevront une letttre d’invitation par courriel (PDF). En émargeant au bureau du congrès, ils recevront une lettre certifiant leur participation.

Q: Quelle est la  différence entre l’inscription en ligne et l’inscription au congrès?
R: Les participants inscrits en ligne émargeront lors de leur arrivée sur les lieux du congrès  où leur sera remis une pochette d’accueil contenant leur badge et divers documents utiles à leurs activités de la semaine. Le badge sera requis à l’entrée de tous les événements culturels et sociaux.

Q: Où aura lieu cet émargement?
R: Le jour d’ouverture,  l’émargement aura lieu à l’Institut du Monde Anglophone, 5 rue de l’École de Médecine, 75005 Paris. Les jours suivants, les congressistes émargeront sur le lieu principal du congrès (voir Lieu).

Q: Suis-je obligé(e) de m’inscrire?
R: Les conférences plénières et quelques ateliers seront ouverts au public. Mais il vous faut obligatoirement être inscrit(e) si vous participez à un panel, séminaire ou “closed workshop”. Vous devez également vous inscrire pour assister aux réceptions d’anniversaire et de clôture, bénéficier des pauses thé/café, ainsi que des invitations ou tarifs spéciaux du programme d’événements pendant le congrès réservés aux congressistes.

Q: Comment a été fixé le tarif des inscriptions?
R: La Société Française Shakespeare qui organise le congrès est une association à but non lucratif gérée par une équipe de bénévoles. Les frais d’inscription couvrent une partie des frais d’organisation (restauration, impression, traductions, location de matériel, services etc.). Le tarif a pu être considérablement réduit grâce à la générosité de divers donateurs publics et privés dont la liste figure en pied de page.

Q: Que signifie ‘discount coupon code’ ?
R: Ignorez ce champ dans la fiche d’inscription. Elle est réservée aux conférenciers pléniers.

Lieu du congrès

Q: Où se déroulera le congrès?
R: Il sera accueilli pour la journée d’ouverture au Théâtre de l’Odéon, et les jours suivants à la Sorbonne et l’École des Mines, au cœur du Quartier Latin. Les événements culturels se dérouleront dans d’autres lieux tous facilement accessibles par les transports en commun. Pour des informations détaillées, allez à la rubrique Lieu sur ce site.

Q: Ces lieux sont-ils accessibles aux fauteuils roulants?
R: Ces lieux ont presque tous un accès pour handicapés.

Matériel audiovisuel et Wifi

Q: Y aura-t-il des ordinateurs et des écrans équipés de sorties AV sur les lieux du congrès?
R: Oui. Si vous prévoyez d’apporter votre propre ordinateur, pensez à apporter aussi votre jeu de connecteurs et câbles.

Q: Y aura-t-il un accès Wifi sur les lieux du congrès?
A: Certaines salles n’auront pas forcément un accès Wifi. D’autres auront un accès nécessitant un mot de passe qui vous sera fourni sur place.

Q: Quel est le voltage en France?
R: 220V. Si vous avez des prises étrangères, pensez à apporter vos convertisseurs.

Q: Quel est le hashtag du congrès sur Twitter?
R: #Shake450.

Contact

Si vous n’avez pas trouvé de réponse à votre question après avoir pris le soin de consulter le site du congrès, n’hésitez pas à nous contacter.

Courriel : contact AT societefrancaiseshakespeare DOT org

Téléphone portable : +33 7 71 13 40 04. Ce numéro sera disponible tous les jours du congrès de 7:45 à 20:30.

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Plenary lectures

21 April, Odéon Théâtre de l’Europe

Yves Bonnefoy (Collège de France, membre de PSL)
“Pourquoi Shakespeare?”

This lecture aims to understand why Shakespeare is still so powerfully with us, despite the four centuries’ distance, and today’s meagre knowledge of literary history…

The inaugural conference will be interpreted simultaneously into English.

Depuis que Pierre Leyris, prenant la direction des Œuvres Complètes de Shakespeare au Club Français du Livre, lui proposa de traduire, successivement, Jules César, Hamlet, Henry IV (1), Le Conte d’hiver, ainsi que Vénus et Adonis et Le Viol de Lucrèce, Yves Bonnefoy a toujours gardé Shakespeare au cœur de sa réflexion, traduisant d’autres pièces, aussi les Sonnets, et ajoutant chaque fois un essai critique dans l’étude d’ensemble de cet auteur de théâtre qui réfléchissait aux enjeux et aux risques de la création poétique. Publiés en préface aux œuvres, ces essais ont été réunis en volume (Théâtre et Poésie : Shakespeare et Yeats, au Mercure de France, Shakespeare and the French Poet, aux presses de l’Université de Chicago, et maintenant leur recueil dans la collection Tel), cependant que les traductions étaient retenues par divers metteurs en scène : de Jean-Louis Barrault, le premier, à Patrice Chéreau qui présenta Hamlet à Avignon et Nanterre et s’apprêtait cette année à monter Comme il vous plaira. Yves Bonnefoy traduit actuellement Le songe d’une nuit d’été.

21 April, Odéon Théâtre de l’Europe

Andreas Höfele (Munich)
“Elsinore – Berlin: Hamlet in the Twenties”

La conférence évoquera quelques interprétations marquantes (Asta Nielsen, Fritz Kortner), ainsi que le(s) rôle(s) de Hamlet dans les débats culturels et politiques de l’époque (Brecht, Oswald Spengler, Carl Schmitt).

Cette conférence fera l’objet d’une traduction simultanée en français.

Andreas Höfele is Professor of English at Munich University. He is author of Stage, Stake, and Scaffold: Humans and Animals in Shakespeare’s Theatre (Oxford University Press, 2011), which won the 2012 Roland H. Bainton Prize for Literature. His publications in German include books on Shakespeare’s stagecraft, late nineteenth-century parody and on Malcolm Lowry, as well as six novels. He served as President of the German Shakespeare Society from 2002 to 2011.

22 April, École des Mines-ParisTech

Ton Hoenselaars (Utrecht)
“Great War Shakespeare: ‘Somewhere in France’”

This paper explores the unique but largely neglected cultural history of ‘Shakespeare’ in France during the Anglo-French alliance that lasted throughout the Great War (1914-1919). It considers numerous English, French, as well as Anglo-French Shakespearean practices across the cultural field – including the commemoration of the Shakespeare Tercentenary of 1916. Among other things, this paper seeks to demonstrate how Paul Valéry’s classical postwar image of Hamlet and the ghosts of Europe – famously adopted by Heiner Müller and Jacques Derrida – should perhaps be recognized not as the invention of just one intellectual, but as the popular voice of the French nation at the time.

Ton Hoenselaars is professor of Early Modern Literature and Culture in the English Department of Utrecht University, the Netherlands. He is the president of the Shakespeare Society of the Low Countries, and was, until 2012, also the president of the European Shakespeare Research Association (ESRA). He has written extensively on Anglo-foreign relations and the reception history of Shakespeare worldwide. Books include Images of Englishmen and Foreigners in the Drama of Shakespeare and his Contemporaries (1992), Shakespeare and the Language of Translation (2004; revised 2012), and Shakespeare’s History Plays: Performance, Translation, and Adaptation in Britain and Abroad (2004). Recently, he edited The Cambridge Companion to Shakespeare and Contemporary Dramatists (2012). He is currently annotating (together with Ieme van de Poel) the new Dutch translation of Marcel Proust’s À la recherche du temps perdu (vol. 1 in 2009); conducting research into Shakespeare and the cultures of commemoration; and writing the cultural history of Ruhleben, the civilian internment camp for Britons in Berlin (1914-1918).

23 April, École des Mines-ParisTech

Peter Holland (Notre Dame, USA)
“Commemorating Shakespeare: From Westminster Abbey to Stratford-upon-Avon and beyond”

Temples built and imagined, statues sculpted and copied, proposals made and ignored, events celebrated and mocked, pamphlets published, Shakespeare canonized, high priests self-appointed and so on. My paper will consider some of the processes of celebration and commemoration from Shakespeare’s death until the Jubilee.

Peter Holland is McMeel Family Professor in Shakespeare Studies and Associate Dean for the Arts at the University of Notre Dame, USA. He was Director of the Shakespeare Institute in Stratford-upon-Avon from 1997 to 2002 and is one of the Institute’s Honorary Fellows. He was also a Governor of the Royal Shakespeare Company and a Trustee of the Shakespeare Birthplace Trust before moving to the US. He was elected President of the Shakespeare Association of America for 2007-8. He has edited many of Shakespeare’s plays (for Penguin, Oxford University Press and the Arden Shakespeare) and written widely on the plays in performance, including English Shakespeares: Shakespeare on the English Stage in the 1990s. He is the Editor of Shakespeare Survey, the leading Shakespeare journal in the UK, and is General Editor for a number of book series, including an 18-volume series on Great Shakespeareans (with Adrian Poole), and Oxford Shakespeare Topics (with Stanley Wells). He edited a five-volume series, Redefining British Theatre History for Palgrave, based on five conferences at the Huntington. His edition of Coriolanus for the Arden Shakespeare series appeared in 2013.

23 April, amphi Louis Liard (Sorbonne)

Joël Huthwohl (BnF, France)
“Shakespeare dans les collections du département des Arts du spectacle”

Les études shakespeariennes passent à l’évidence par l’histoire des représentations scéniques de ses œuvres. Le département des Arts du spectacle en conserve de nombreuses traces. Outre les éditions et traductions du xiiie siècle à nos jours, il réunit une grande variété de documents comme des manuscrits, maquettes, affiches, programmes, audiovisuel, costumes, photographies et estampes. Ces collections permettent une traversée vivant des mises de Shakespeare en France depuis le XIXe siècle d’André Antoine à Roger Planchon, d’Edward Gordon Craig à Jean-Marie Villégier, de Jacques Copeau à Ariane Mnouchkine.

Joël Huthwohl est archiviste paléographe. De 2001 à 2008 il a été conservateur-archiviste de la Bibliothèque-Musée de la Comédie-Française. Depuis 2008 il est directeur du Département des arts du spectacle à la Bibliothèque nationale de France. Il est l’auteur d’articles et ouvrages sur les arts du spectacle. Parutions récentes : Comédiens et Costumes des Lumières. Miniatures de Fesch et Whirsker, Bleu autour, CNCS, 2011 ; « Suite biographiques » dans Jean-Louis Barrault, une vie pour le théâtre, Gallimard, 2010.

23 April, amphi Louis Liard (Sorbonne)

Michèle Willems (Rouen, France)
“Avec ou ‘sans muselière’ ? La traduction shakespearienne de Voltaire à François-Victor Hugo”

Dans son William Shakespeare, publié en 1864, Victor Hugo assure la promotion de la traduction de son fils François-Victor, en la qualifiant de « Shakespeare sans muselière », en opposition aux traductions du siècle précédent. Je me propose de vérifier la validité du jugement de Hugo à partir de quelques échantillons de traductions d’Hamlet par Voltaire, Antoine de La Place ou Pierre Letourneur, analysés dans le contexte de l’esthétique dramatique classique. Des exemples de « tradaptations » par Jean-François Ducis clarifieront le rôle joué par la muselière de la bienséance classique (subie, mais parfois assumée ou détournée) dans la diffusion du drame shakespearien en français.

Michèle Willems a dirigé pendant vingt ans le Centre d’études du théâtre anglo-saxon de l’Université de Rouen. Auteur de La genèse du mythe shakespearien, 1660-1780, de Shakespeare à la télévision, d’études sur la réception de Hamlet en France, les adaptations de Ducis, Shakespeare à l’écran, cinéma et télévision, éditrice de French Studies in Shakespeare and his Contemporaries (University of Delaware Press in 1995), et Travel and Drama in Shakespeare’s Time (Cambridge University Press, 1996).

24 April, Maison des Mines

Michèle le Dœuff (CNRS)
“Comme il nous plaira”

Cette communication constituera le témoignage d’une spectatrice esthétiquement (et affectivement) engagée. Elle cherchera à montrer comment et pourquoi nous n’avons plus besoin de dire, comme Simone de Beauvoir en 1945, « C’est Shakespeare qu’ils n’aiment pas. »

Philosophe, directrice de recherche au CNRS, spécialiste de Francis Bacon, Michèle Le Dœuff a fait partie de l’équipe dramaturgique du Théâtre de l’Aquarium pour La Sœur de Shakespeare. Auteure de L’Imaginaire philosophique (Payot 1980), de L’Étude et le rouet; des femmes, de la philosophie, etc. (Seuil 1989, rééd. 2008), et du Sexe du savoir (Aubier 1998, rééd. Flammarion 2000), elle a traduit et annoté La Nouvelle Atlantide de Bacon, avec Margaret Llasera (Payot 1983, rééd. G/F 1995), Vénus et Adonis (1984), ainsi que Du Progrès et de la promotion des savoirs (Gallimard 1991).

25 April, École des Mines-ParisTech

Dominique de Font-Réaulx (Musée Delacroix)
“Les origines théâtrales de la photographie”

Par la figure de Jacques-Louis-Mandé Daguerre, l’un des inventeurs français, la photographie, dont l’apparition modifia profondément les codes de la représentation et le rapport au réel, est étroitement liée au renouveau théâtral du premier tiers du XIXe siècle. Daguerre, homme de spectacles, décorateur renommé au théâtre et à l’Opéra, fut, comme sur la scène, attaché à obtenir, grâce à l’image photographique, une illusion parfaite de la représentation. Son habileté à utiliser les sources de lumière lui fut précieuse pour la conception de son invention. Au-delà, la photographie est, par la nécessité d’une confrontation à l’objet ou à la scène reproduite, une « image performée », précédée obligatoirement d’une répétition du moment représentée. Cette communication souhaiterait rappeler ces origines théâtrales de la photographie, qui ont perduré longtemps dans la pratique photographique, en analysant également la part prise, dans les années 1820 et 1830, par l’intérêt renouvelé pour le théâtre et la littérature anglaise, celui de Shakespeare notamment, source d’iconographie nouvelle.

Dominique de Font-Réaulx est conservateur en chef au Musée du Louvre, directrice du Musée Eugène Delacroix. Elle a été, pendant cinq ans, chargée de mission auprès d’Henri Loyrette, pour la coordination scientifique du projet du Louvre Abou Dabi. Auparavant, elle a été conservateur au Musée d’Orsay, en charge de la collection de photographies ; elle a commencé sa carrière comme conservateur de la collection de moulages du Musée des Monuments français, de sa restauration et de son redéploiement. Elle a été commissaire de plusieurs expositions, notamment, en 2002, L’Invention du sentiment (Musée de la Musique), en 2003, Le daguerréotype français, un objet photographique (Musée d’Orsay, The Metropolitan Museum of Art) ; en 2005, Dans l’Atelier (Musée d’Orsay) ; en 2006, L’œuvre d’art et sa reproduction photographique (Musée d’Orsay) ; en 2007-2008, Gustave Courbet 1819-1877 (Galeries nationales du Grand Palais, The Metropolitan Museum of Art, Musée Fabre) ; Jean-Léon Gérôme (2010, Musée d’Orsay, The Getty Museum, Fondation Thyssen à Madrid), Delacroix en héritage, autour de la collection Moreau-Nélaton (2013, Musée Eugène Delacroix). Elle a aussi collaboré à de nombreux catalogues et ouvrages, notamment Le photographe et son modèle, l’art du nu au XIXe siècle (BnF/Hazan, 1997), Courbet’s landscapes (The Getty Museum, 2006), Alfons Mucha (Musée du Belvédère, Musée Fabre, 2009). Elle a publié Peinture et photographie, les enjeux d’une rencontre, chez Flammarion, en 2012. Elle enseigne à l’École du Louvre et à l’Institut de Sciences politiques de Paris.

25 April, École des Mines-ParisTech

François Laroque (Sorbonne Nouvelle)
“ ‘Old custom’. Shakespeare’s ambivalent anthropology”

This paper will focus on the anthropological approaches to Shakespeare. Indeed, since the latter’s world picture sometimes presents us with a sort of pre-anthropological view of society, it is interesting to consider whether some his plays, which foreground the themes of carnival, festivity and sacrifice may lend themselves to such interpretations. In such a case, we may then wonder about the reasons why his plays so often juxtapose sophistication and primitiveness, ‘old custom’ and ‘brave new world[s]’?

François Laroque is Emeritus professor at the University of Sorbonne Nouvelle in Paris. As a Shakespeare scholar, he has published Shakespeare’s Festive World (Cambridge University Press, 1991), Court, Crowd and Playhouse (Thames and Hudson, 1993) and co-authored a book on King Lear. He has also translated into French Marlowe’s Dr Faustus and The Jew of Malta as well as Shakespeare’s Romeo and Juliet, The Merchant of Venice and The Tempest. He is currently working on a new translation of Shakespeare’s Sonnets and on another book on Shakespeare.

26 April, École des Mines-ParisTech

Sarah Hatchuel (Université du Havre)
“The Shakespearean films of the 90s: Afterlives in 21st-century online multimedia”

How are Kenneth Branagh’s 1989 Henry V, 1993 Much Ado About Nothing and 1996 Hamlet, Baz Luhrmann’s 1996 Romeo + Juliet, Richard Loncraine’s 1995 Richard III or Julie Taymor’s 1999 Titus revisited now through online multimedia? How has the rise of the internet, videogames and TV series influenced appropriations, fan vidding and ghosting effects? How do actors now play with the intertext of their previous Shakespearean roles? This presentation explores the twenty-first century afterlives of the flood of UK/US Shakespearean films released in the nineties in the wake of Branagh’s 1989 commercially and critically successful Henry V.

Sarah Hatchuel is Professor of English and Film at the University of Le Havre (France). She has published several articles on the aesthetics of Shakespeare on screen, and is the author of Lost, fiction vitale (PUF, 2013), Shakespeare and the Cleopatra/Caesar Intertext: Sequel, Conflation, Remake (Fairleigh Dickinson University Press, 2011), Shakespeare, from Stage to Screen (Cambridge University Press, 2004) and A Companion to the Shakespearean Films of Kenneth Branagh (Blizzard Publishing, 2000). She co-edited (with Nathalie Vienne-Guerrin) Shakespeare on Screen: A Midsummer Night’s Dream (2004), Shakespeare on Screen: Richard III (2005), Television Shakespeare: Essays in honour of Michèle Willems (2008), Shakespeare on Screen: The Henriad (2008), Shakespeare on Screen: The Roman Plays (2009), Shakespeare on Screen: Hamlet (2011) and Shakespeare on Screen: Macbeth (2013); she also edited the plays Julius Caesar and Antony and Cleopatra in the New Kittredge Shakespeare collection (Focus Publishing, 2008). She is now working on a volume focusing on dreams in US TV series (Rouge Profond, 2015).

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Conférences plénières

21 avril, Odéon Théâtre de l’Europe

Yves Bonnefoy (Collège de France, membre de PSL)
« Pourquoi Shakespeare ? »

Cette conférence se propose de comprendre pourquoi Shakespeare est toujours si présent parmi nous, en dépit des quatre siècles et du peu de savoir des années récentes en matière d’histoire littéraire…

Depuis que Pierre Leyris, prenant la direction des Œuvres Complètes de Shakespeare au Club Français du Livre, lui proposa de traduire, successivement, Jules César, Hamlet, Henry IV (1), Le Conte d’hiver, ainsi que Vénus et Adonis et Le Viol de Lucrèce, Yves Bonnefoy a toujours gardé Shakespeare au cœur de sa réflexion, traduisant d’autres pièces, aussi les Sonnets, et ajoutant chaque fois un essai critique dans l’étude d’ensemble de cet auteur de théâtre qui réfléchissait aux enjeux et aux risques de la création poétique. Publiés en préface aux œuvres, ces essais ont été réunis en volume (Théâtre et Poésie : Shakespeare et Yeats, au Mercure de France, Shakespeare and the French Poet, aux presses de l’Université de Chicago, et maintenant leur recueil dans la collection Tel), cependant que les traductions étaient retenues par divers metteurs en scène : de Jean-Louis Barrault, le premier, à Patrice Chéreau qui présenta Hamlet à Avignon et Nanterre et s’apprêtait cette année à monter Comme il vous plaira. Yves Bonnefoy traduit actuellement Le songe d’une nuit d’été.

21 avril, Odéon Théâtre de l’Europe

Andreas Höfele (Munich)
« Elsinore – Berlin: Hamlet in the Twenties »

La conférence évoquera quelques interprétations marquantes (Asta Nielsen, Fritz Kortner), ainsi que le(s) rôle(s) de Hamlet dans les débats culturels et politiques de l’époque (Brecht, Oswald Spengler, Carl Schmitt).

Cette conférence fera l’objet d’une traduction simultanée en français.

Andreas Höfele is Professor of English at Munich University. He is author of Stage, Stake, and Scaffold: Humans and Animals in Shakespeare’s Theatre (Oxford University Press, 2011), which won the 2012 Roland H. Bainton Prize for Literature. His publications in German include books on Shakespeare’s stagecraft, late nineteenth-century parody and on Malcolm Lowry, as well as six novels. He served as President of the German Shakespeare Society from 2002 to 2011.

22 avril, École des Mines-ParisTech

Ton Hoenselaars (Utrecht)
« Great War Shakespeare: ‘Somewhere in France’ »

This paper explores the unique but largely neglected cultural history of ‘Shakespeare’ in France during the Anglo-French alliance that lasted throughout the Great War (1914-1919). It considers numerous English, French, as well as Anglo-French Shakespearean practices across the cultural field – including the commemoration of the Shakespeare Tercentenary of 1916. Among other things, this paper seeks to demonstrate how Paul Valéry’s classical postwar image of Hamlet and the ghosts of Europe – famously adopted by Heiner Müller and Jacques Derrida – should perhaps be recognized not as the invention of just one intellectual, but as the popular voice of the French nation at the time.

Ton Hoenselaars is professor of Early Modern Literature and Culture in the English Department of Utrecht University, the Netherlands. He is the president of the Shakespeare Society of the Low Countries, and was, until 2012, also the president of the European Shakespeare Research Association (ESRA). He has written extensively on Anglo-foreign relations and the reception history of Shakespeare worldwide. Books include Images of Englishmen and Foreigners in the Drama of Shakespeare and his Contemporaries (1992), Shakespeare and the Language of Translation (2004; revised 2012), and Shakespeare’s History Plays: Performance, Translation, and Adaptation in Britain and Abroad (2004). Recently, he edited The Cambridge Companion to Shakespeare and Contemporary Dramatists (2012). He is currently annotating (together with Ieme van de Poel) the new Dutch translation of Marcel Proust’s À la recherche du temps perdu (vol. 1 in 2009); conducting research into Shakespeare and the cultures of commemoration; and writing the cultural history of Ruhleben, the civilian internment camp for Britons in Berlin (1914-1918).

23 avril, École des Mines-ParisTech

Peter Holland (Notre Dame, USA)
« Commemorating Shakespeare: From Westminster Abbey to Stratford-upon-Avon and beyond »

Temples built and imagined, statues sculpted and copied, proposals made and ignored, events celebrated and mocked, pamphlets published, Shakespeare canonized, high priests self-appointed and so on. My paper will consider some of the processes of celebration and commemoration from Shakespeare’s death until the Jubilee.

Peter Holland is McMeel Family Professor in Shakespeare Studies and Associate Dean for the Arts at the University of Notre Dame, USA. He was Director of the Shakespeare Institute in Stratford-upon-Avon from 1997 to 2002 and is one of the Institute’s Honorary Fellows. He was also a Governor of the Royal Shakespeare Company and a Trustee of the Shakespeare Birthplace Trust before moving to the US. He was elected President of the Shakespeare Association of America for 2007-8. He has edited many of Shakespeare’s plays (for Penguin, Oxford University Press and the Arden Shakespeare) and written widely on the plays in performance, including English Shakespeares: Shakespeare on the English Stage in the 1990s. He is the Editor of Shakespeare Survey, the leading Shakespeare journal in the UK, and is General Editor for a number of book series, including an 18-volume series on Great Shakespeareans (with Adrian Poole), and Oxford Shakespeare Topics (with Stanley Wells). He edited a five-volume series, Redefining British Theatre History for Palgrave, based on five conferences at the Huntington. His edition of Coriolanus for the Arden Shakespeare series appeared in 2013.

23 avril, amphi Louis Liard (Sorbonne)

Joël Huthwohl (BnF, France)
« Shakespeare dans les collections du département des Arts du spectacle »

Les études shakespeariennes passent à l’évidence par l’histoire des représentations scéniques de ses œuvres. Le département des Arts du spectacle en conserve de nombreuses traces. Outre les éditions et traductions du xiiie siècle à nos jours, il réunit une grande variété de documents comme des manuscrits, maquettes, affiches, programmes, audiovisuel, costumes, photographies et estampes. Ces collections permettent une traversée vivant des mises de Shakespeare en France depuis le XIXe siècle d’André Antoine à Roger Planchon, d’Edward Gordon Craig à Jean-Marie Villégier, de Jacques Copeau à Ariane Mnouchkine.

Joël Huthwohl est archiviste paléographe. De 2001 à 2008 il a été conservateur-archiviste de la Bibliothèque-Musée de la Comédie-Française. Depuis 2008 il est directeur du Département des arts du spectacle à la Bibliothèque nationale de France. Il est l’auteur d’articles et ouvrages sur les arts du spectacle. Parutions récentes : Comédiens et Costumes des Lumières. Miniatures de Fesch et Whirsker, Bleu autour, CNCS, 2011 ; « Suite biographiques » dans Jean-Louis Barrault, une vie pour le théâtre, Gallimard, 2010.

23 avril, amphi Louis Liard (Sorbonne)

Michèle Willems (Rouen, France)
« Avec ou ‘sans muselière’ ? La traduction shakespearienne de Voltaire à François-Victor Hugo »

Dans son William Shakespeare, publié en 1864, Victor Hugo assure la promotion de la traduction de son fils François-Victor, en la qualifiant de « Shakespeare sans muselière », en opposition aux traductions du siècle précédent. Je me propose de vérifier la validité du jugement de Hugo à partir de quelques échantillons de traductions d’Hamlet par Voltaire, Antoine de La Place ou Pierre Letourneur, analysés dans le contexte de l’esthétique dramatique classique. Des exemples de « tradaptations » par Jean-François Ducis clarifieront le rôle joué par la muselière de la bienséance classique (subie, mais parfois assumée ou détournée) dans la diffusion du drame shakespearien en français.

Michèle Willems a dirigé pendant vingt ans le Centre d’études du théâtre anglo-saxon de l’Université de Rouen. Auteur de La genèse du mythe shakespearien, 1660-1780, de Shakespeare à la télévision, d’études sur la réception de Hamlet en France, les adaptations de Ducis, Shakespeare à l’écran, cinéma et télévision, éditrice de French Studies in Shakespeare and his Contemporaries (University of Delaware Press in 1995), et Travel and Drama in Shakespeare’s Time (Cambridge University Press, 1996).

24 avril, Maison des Mines

Michèle le Dœuff (CNRS)
« Comme il nous plaira »

Cette communication constituera le témoignage d’une spectatrice esthétiquement (et affectivement) engagée. Elle cherchera à montrer comment et pourquoi nous n’avons plus besoin de dire, comme Simone de Beauvoir en 1945, « C’est Shakespeare qu’ils n’aiment pas. »

Philosophe, directrice de recherche au CNRS, spécialiste de Francis Bacon, Michèle Le Dœuff a fait partie de l’équipe dramaturgique du Théâtre de l’Aquarium pour La Sœur de Shakespeare. Auteure de L’Imaginaire philosophique (Payot 1980), de L’Étude et le rouet; des femmes, de la philosophie, etc. (Seuil 1989, rééd. 2008), et du Sexe du savoir (Aubier 1998, rééd. Flammarion 2000), elle a traduit et annoté La Nouvelle Atlantide de Bacon, avec Margaret Llasera (Payot 1983, rééd. G/F 1995), Vénus et Adonis (1984), ainsi que Du Progrès et de la promotion des savoirs (Gallimard 1991).

25 avril, École des Mines-ParisTech

Dominique de Font-Réaulx (Musée Delacroix)
« Les origines théâtrales de la photographie »

Par la figure de Jacques-Louis-Mandé Daguerre, l’un des inventeurs français, la photographie, dont l’apparition modifia profondément les codes de la représentation et le rapport au réel, est étroitement liée au renouveau théâtral du premier tiers du XIXe siècle. Daguerre, homme de spectacles, décorateur renommé au théâtre et à l’Opéra, fut, comme sur la scène, attaché à obtenir, grâce à l’image photographique, une illusion parfaite de la représentation. Son habileté à utiliser les sources de lumière lui fut précieuse pour la conception de son invention. Au-delà, la photographie est, par la nécessité d’une confrontation à l’objet ou à la scène reproduite, une « image performée », précédée obligatoirement d’une répétition du moment représentée. Cette communication souhaiterait rappeler ces origines théâtrales de la photographie, qui ont perduré longtemps dans la pratique photographique, en analysant également la part prise, dans les années 1820 et 1830, par l’intérêt renouvelé pour le théâtre et la littérature anglaise, celui de Shakespeare notamment, source d’iconographie nouvelle.

Dominique de Font-Réaulx est conservateur en chef au Musée du Louvre, directrice du Musée Eugène Delacroix. Elle a été, pendant cinq ans, chargée de mission auprès d’Henri Loyrette, pour la coordination scientifique du projet du Louvre Abou Dabi. Auparavant, elle a été conservateur au Musée d’Orsay, en charge de la collection de photographies ; elle a commencé sa carrière comme conservateur de la collection de moulages du Musée des Monuments français, de sa restauration et de son redéploiement. Elle a été commissaire de plusieurs expositions, notamment, en 2002, L’Invention du sentiment (Musée de la Musique), en 2003, Le daguerréotype français, un objet photographique (Musée d’Orsay, The Metropolitan Museum of Art) ; en 2005, Dans l’Atelier (Musée d’Orsay) ; en 2006, L’œuvre d’art et sa reproduction photographique (Musée d’Orsay) ; en 2007-2008, Gustave Courbet 1819-1877 (Galeries nationales du Grand Palais, The Metropolitan Museum of Art, Musée Fabre) ; Jean-Léon Gérôme (2010, Musée d’Orsay, The Getty Museum, Fondation Thyssen à Madrid), Delacroix en héritage, autour de la collection Moreau-Nélaton (2013, Musée Eugène Delacroix). Elle a aussi collaboré à de nombreux catalogues et ouvrages, notamment Le photographe et son modèle, l’art du nu au XIXe siècle (BnF/Hazan, 1997), Courbet’s landscapes (The Getty Museum, 2006), Alfons Mucha (Musée du Belvédère, Musée Fabre, 2009). Elle a publié Peinture et photographie, les enjeux d’une rencontre, chez Flammarion, en 2012. Elle enseigne à l’École du Louvre et à l’Institut de Sciences politiques de Paris.

25 avril, École des Mines-ParisTech

François Laroque (Sorbonne Nouvelle)
« ‘Old custom’. Shakespeare’s ambivalent anthropology »

This paper will focus on the anthropological approaches to Shakespeare. Indeed, since the latter’s world picture sometimes presents us with a sort of pre-anthropological view of society, it is interesting to consider whether some his plays, which foreground the themes of carnival, festivity and sacrifice may lend themselves to such interpretations. In such a case, we may then wonder about the reasons why his plays so often juxtapose sophistication and primitiveness, ‘old custom’ and ‘brave new world[s]’?

François Laroque is Emeritus professor at the University of Sorbonne Nouvelle in Paris. As a Shakespeare scholar, he has published Shakespeare’s Festive World (Cambridge University Press, 1991), Court, Crowd and Playhouse (Thames and Hudson, 1993) and co-authored a book on King Lear. He has also translated into French Marlowe’s Dr Faustus and The Jew of Malta as well as Shakespeare’s Romeo and Juliet, The Merchant of Venice and The Tempest. He is currently working on a new translation of Shakespeare’s Sonnets and on another book on Shakespeare.

26 avril, École des Mines-ParisTech

Sarah Hatchuel (Université du Havre)
« The Shakespearean films of the 90s: Afterlives in 21st-century online multimedia »

How are Kenneth Branagh’s 1989 Henry V, 1993 Much Ado About Nothing and 1996 Hamlet, Baz Luhrmann’s 1996 Romeo + Juliet, Richard Loncraine’s 1995 Richard III or Julie Taymor’s 1999 Titus revisited now through online multimedia? How has the rise of the internet, videogames and TV series influenced appropriations, fan vidding and ghosting effects? How do actors now play with the intertext of their previous Shakespearean roles? This presentation explores the twenty-first century afterlives of the flood of UK/US Shakespearean films released in the nineties in the wake of Branagh’s 1989 commercially and critically successful Henry V.

Sarah Hatchuel is Professor of English and Film at the University of Le Havre (France). She has published several articles on the aesthetics of Shakespeare on screen, and is the author of Lost, fiction vitale (PUF, 2013), Shakespeare and the Cleopatra/Caesar Intertext: Sequel, Conflation, Remake (Fairleigh Dickinson University Press, 2011), Shakespeare, from Stage to Screen (Cambridge University Press, 2004) and A Companion to the Shakespearean Films of Kenneth Branagh (Blizzard Publishing, 2000). She co-edited (with Nathalie Vienne-Guerrin) Shakespeare on Screen: A Midsummer Night’s Dream (2004), Shakespeare on Screen: Richard III (2005), Television Shakespeare: Essays in honour of Michèle Willems (2008), Shakespeare on Screen: The Henriad (2008), Shakespeare on Screen: The Roman Plays (2009), Shakespeare on Screen: Hamlet (2011) and Shakespeare on Screen: Macbeth (2013); she also edited the plays Julius Caesar and Antony and Cleopatra in the New Kittredge Shakespeare collection (Focus Publishing, 2008). She is now working on a volume focusing on dreams in US TV series (Rouge Profond, 2015).

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Ateliers

Organisateur

Fundación Shakespeare Argentina (Argentine)
 

Horaire

Mercredi 24 avril 2014, 15h30-17h30.

Salle : Vendôme.

 
 

Atelier 2

Shakespeare: Wherefore Art Thou: The places in his plays and the places that he knew
 

Oganisateur

David Pearce, The Rose Playhouse Bankside (Royaume-Uni)

David Pearce est l’un des Honorary Artistic Associates du Rose Theatre Bankside à Londres.
Diplômé de la Royal Academy of Dramatic Art (RADA) en 2006, il a depuis mis en scène de nombreuses pièces Shakespeare dans ce théâtre, y compris, Comme il vous plaira, Macbeth, La Tempête, Antoine et Cléopâtre, La Comédie des Erreurs, Venus et Adonis (adapté du poème narratif) et Le Songe d’une nuit d’été.
Il organise des ateliers sur Shakespeare et le Rose Theater pour les collégiens et les étudiants, et travaille également à l’exposition Shakespeare’s Globe.

 

Description

Un regard contemplatif et cinématographique des lieux évoqués par William Shakespeare dans ses pièces, en Grande-Bretagne et ailleurs, et des lieux que lui-même fréquenta et connut.

Ces images se mêlent à des extraits de pièces, et d’images du monde naturel dont Shakespeare parlait et que l’on trouve encore aujourd’hui. Le film montre également l’influence du dramaturge sur d’autres formes artistiques, comme la musique ou la peinture.

 

Horaire

Vendredi 25 avril 2014, 15h30-17h30.

Salle : Maison des Mines, salle AB.

 
 

Atelier 3

Textual and verse analysis in relation to performance: a workshop to read Shakespeare from the performer’s viewpoint
 

Organisateur

Colin David Reese (Royaume-Uni)

An actor and director for over forty years, trained at The Webber Douglas Academy, London & Jacques Lecoq, Paris. Colin David Reese has worked in the UK, Canada and France, with such names as Sir John Gielgud, Harold Pinter Lauren Bacall… Specialised in Shakespeare, he attended numerous workshops – e.g. “Is Shakespeare Still our Contemporary?” (Jan Kott) and “Original Shakespeare” (Patrick Tucker) and ran many workshops on Shakespearean acting in France, UK, Netherlands, Israel, Australia… (lately at Hebrew University, Jerusalem and John Curtin College, Perth). Currently performing his play Gift to the future, celebrating John Hemminges.

 

Description

The workshop will examine speeches and scenes from several plays, comparing the First Folio with different modern edited texts : The Riverside, Peter Alexander’s Collins Tudor, Stanley Wells and Gary Taylor’s “The Oxford Shakespeare”, The New Cambridge Shakespeare, among others – the participants being asked to read and analyse the texts from the performer’s point of view.

Shakespearean verse gives many indications to the creation of character by exploiting the iambic pentameter and deforming its structure, thereby giving indications to the actor concerning interpretation and characterisation.

The use of mid-line endings, enjambments, end-stops, short lines (less than 5 feet), trochees, spondees, anapaests, assonance, alliteration, simile, metaphor and repetition are all used by the author to guide the actor, helping with character creation. Coded into the structure of his writing are instructions to the actor – where to pause, which words to stress, etc; in much the same way as a composer instructs the musicians through the use of bars and symbols.

Being able to decode these instructions helps the actor to be able to create the character out of the text. Switching from verse to prose and back again, Shakespeare guides the actors through the emotional roller coaster of his plays. Shakespeare uses the whole range of linguistic devices available in the English language and they are employed for the actor to use when creating his character.

Many musicians will say that the only way to really understand a piece of music is to play it. The same is true for Shakespeare. Only by saying it out loud will the meaning become clear. A series of repeated vowels or consonants will resonate on the actor in the same way as playing a piece of music will resonate on the musician. By saying the lines, the actor lives them. The thoughts, philosophy, emotion, even psychology are only released when given voice.

The working practices that were in place in the Elizabethan/Jacobean theatre created specific conditions for the players of the time. Everything being written by hand meant that at no time did the players have access to the entire play. Indeed the only three people to read an entire play were the playwright, the bookkeeper and the censor. Each player had only his cue-script to work from. Rehearsals being almost impossible given the work load, this means that everything a player needs to create his character must, perforce, be contained in his lines.

The players, then, were working in an isolated manner; creating their characters from their cue-scripts which is why the versification is so fundamentally important.

Another stunning aspect of Shakespeare’s genius is the way he created a mosaic, each character separately pursuing his objective, in many cases in direct conflict to the other characters on stage at the time, both linguistically and emotionally.

 

Horaire

Mercredi 23 avril 2014, 11h-13h.

Salle : V106B.

 
 

Organisatrice

Christine Farenc (France)

Christine Farenc est comédienne, metteur en scène et professeur d’art dramatique. Elle est titulaire d’un Doctorat d’Etudes Théâtrales de l’Université Paris 3 – Sorbonne Nouvelle, où elle a dirigé de nombreux ateliers sur le thème « Jouer Shakespeare en Anglais ». Elle enseigne actuellement à l’Université Paris 8 – Vincennes, à l’Ecole Supérieure d’Art Dramatique de Paris et à SciencesPo Paris. Ses recherches et travaux portent sur le répertoire dramatique francophone et anglophone, sur le jeu, la formation et la condition de l’acteur dans une approche interdisciplinaire. Elle s’intéresse également à la question de l’éducation artistique et de l’apprentissage de l’anglais comme langue étrangère par le théâtre.

 

Description

Jouer Shakespeare requiert une « physicalité » liée à la langue et à l’habitus corporel anglophone. Il s’agira d’explorer en pratique, dans cette langue et ce corps du texte shakespearien, la part latine et francophone enfouie et ses conséquences pour le jeu. Cet atelier se déroulera en deux temps. D’abord, un training spécifique proposera des exercices d’échauffement et de pratique du pentamètre iambique, vers shakespearien par excellence. Jouer Shakespeare requiert en effet la compréhension de ce que l’on peut nommer un « code iambique », clé décisive de l’interprétation. Ensuite, de courts extraits de textes mis en jeu permettront d’éclairer notre proposition.

Atelier ouvert à tous les participants de SHAKESPEARE 450, sur inscription préalable.

 

Horaire

Mardi 22 avril 2014, 15h30-17h30.

Salle : V106B.

 
 

Atelier 5

Working from cue scripts: An actor’s approach to performing duologues
 

Organisatrices

Vanessa Ackerman et Stephanie Street (Royaume-Uni)

Vanessa Ackerman
As an actress, Vanessa’s credits include leading roles for companies such as the Royal Shakespeare Company, the Royal Court Theatre, the Lyric Theatre Hammersmith, Theatre 503, the Finborough, and Howard Barker’s Wrestling School as well as on television and radio for the BBC and ITV.

As a director, she created a stage adaptation of Israeli writer Etgar Keret’s short stories the RSC fringe festival and for the Crossing Borders Festival in Holland. She has worked with emerging playwrights through workshops with new writing venues such as Soho Theatre and the Royal Court’ young playwright’s programmes and as a judge on the European Independent Film Festival scriptwriting competition.

She also works as a translator in English, French and Russian.

Vanessa trained at LAMDA and has an MA in Shakespeare Studies from Birmingham University’s Shakespeare Institute. She is currently pursuing doctoral studies, investigating the representation of gender and its intersection with current advances in psychology in Shakespearean performance.

Stephanie Street
Stephanie was born and grew up in Singapore. She studied English at Cambridge University before going on to train on a scholarship at LAMDA.

Her theatre work has taken her from the National Theatre to the Royal Court, The Bush, Sheffield Crucible,  Liverpool Everyman and Bristol Old Vic working with directors such as Peter Gill, Max Stafford-Clark, Josie Rourke, Nina Raine, Tamara Harvey, Polly Findlay, Iqbal Khan, Mike Longhurst and Simon Reade.

Stephanie has also worked extensively in television, playing regular and lead roles in series across BBC, ITV, Channel 4 and Sky.

As a playwright, Stephanie’s first play, Sisters, was produced at the Sheffield Crucible in 2010. Under Daniel Evans’ artistic directorship the play re-opened the Studio after the theatre’s two-year closure for refurbishment, to critical acclaim.

1n 2011, she received a whatsonstage Awards nomination for Best Solo Performance for Nightwatchman at the National Theatre.

Stephanie is also an Artistic Associate of HighTide Festival, a Selector for the National Student Drama Festival and a trustee of Shakespeare North.

 

Description

After a vocal and physical warm-up  we will explore the cue script technique to work on a variety of short duologues. The session will culminate in a performance of these duologues with feedback and discussion.
 

Horaire

Samedi 26 avril 2014, 15h-17h.

Salle : V106B.

 
 

Organisateur

Julian Bowsher
Senior archaeologist / Numismatist
Research and Education
Museum of London Archaeology (MOLA)

Julian Bowsher worked in the art world for a couple of years before studying Roman archaeology at London University. He then spent a number of years on archaeological projects in Europe and the Middle East – which included the excavation of a Roman theatre in Jordan. Since joining the Museum of London in the mid 1980s he became involved with the archaeology and history of the Tudor and Stuart period.

The discovery and excavation of the Rose theatre in 1989 was a milestone in ‘Shakespearean archaeology’ and Julian has pioneered its study, bringing together archaeologists, scholars and actors. The 2009 publication of the Rose and the Globe excavations (written with Pat Miller) attracted glowing reviews and won three awards. Further books and articles on the phenomenon of Shakespeare’s theatres is appended. Julian has published five books, over 80 articles, reports and reviews, and has written about 100 unpublished reports on London sites. Further books and articles, on a range of subjects, are in progress. Julian has lectured extensively in Britain and abroad and appeared on TV and radio. He is a Fellow of the Society of Antiquaries, Fellow of the Royal Numismatic Society, and Member of the Institute of Field Archaeologists.

 

Description

The archaeological discovery of the Rose and Globe, two of London’s unique ‘Shakespearean playhouses’, 25 years ago aroused great interest around the world, not least because it heralded the arrival of modern scientific archaeological work on to the new multidisciplinary ‘Shakespearean stage’. For the first time in 400 years we had physical evidence to the actual playhouses that Shakespeare and his contemporaries knew, wrote for and acted in. Since then, further discoveries have provided (in various detail) the location, size and shape of these buildings – often with evidence for rebuilding or alteration – and the spatial awareness of stage and auditorium. The excavations also revealed material evidence left behind by the people who attended and worked in these venues; management, actors and audience, such as their clothes, money, personal items and so on.

Museum of London Archaeology has a unique record in pioneering the excavation of these theatrical venues. No less than nine of these sites have been subject to archaeological investigation; the Theatre, the Curtain, the Rose, the Boars Head, the Globe, the Hope and the Phoenix as well as two of the Bankside animal baiting arenas.

Combined with documentary research, the archaeological work has illuminated many references and debunked many myths. This seminar hopes to address and discuss this myriad evidence and the numerous questions that have emerged.

 

Horaire

Jeudi 24 avril 2014, 9h-10h30.

Salle : V106B.

 
 

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Workshops

Leader

Fundación Shakespeare Argentina (Argentina)
 

Schedule

Thursday 24 April 2014, 15h30-17h30.

Room: Vendôme.

 
 

Workshop 2

Shakespeare: Wherefore Art Thou: The places in his plays and the places that he knew
 

Leader

David Pearce, Honorary Artistic Associate of the Rose Playhouse, Bankside, London (UK)

He is a graduate of The Royal Academy of Dramatic Art (RADA) and since 2006 he has directed many Shakespeare plays at the venue including As You Like It, Macbeth, The Tempest, Antony and Cleopatra, The Comedy of Errors, Venus and Adonis (adapted from the narrative poem) and A Midsummer Night’s Dream.
He organises and runs workshops on Shakespeare and the Rose for colleges and universities and in addition he works at Shakespeare’s Globe Exhibition.

 

Description

The places in his plays and the places that he knew. Part 1 (Workprint – 80 minutes).

A contemplative cinematic look at the locations that William Shakespeare wrote of in his plays, both in Britain and beyond, and the places he himself knew and frequented.

Interspersed with scenes from the plays the film also meditatively incorporates images from the natural world that Shakespeare wrote of and can still be found today, as well as his influence on other art forms such as music and painting.

 

Schedule

Friday 25 April 2014, 15h30-17h30.

Room: Maison des Mines, salle AB.

 
 

Workshop 3

Textual and verse analysis in relation to performance: a workshop to read Shakespeare from the performer’s viewpoint
 

Leader

Colin David Reese (UK)

An actor and director for over forty years, trained at The Webber Douglas Academy, London & Jacques Lecoq, Paris. Colin David Reese has worked in the UK, Canada and France, with such names as Sir John Gielgud, Harold Pinter Lauren Bacall… Specialised in Shakespeare, he attended numerous workshops – e.g. “Is Shakespeare Still our Contemporary?” (Jan Kott) and “Original Shakespeare” (Patrick Tucker) and ran many workshops on Shakespearean acting in France, UK, Netherlands, Israel, Australia… (lately at Hebrew University, Jerusalem and John Curtin College, Perth). Currently performing his play Gift to the future, celebrating John Hemminges.

 

Description

The workshop will examine speeches and scenes from several plays, comparing the First Folio with different modern edited texts : The Riverside, Peter Alexander’s Collins Tudor, Stanley Wells and Gary Taylor’s “The Oxford Shakespeare”, The New Cambridge Shakespeare, among others – the participants being asked to read and analyse the texts from the performer’s point of view.

Shakespearean verse gives many indications to the creation of character by exploiting the iambic pentameter and deforming its structure, thereby giving indications to the actor concerning interpretation and characterisation. The use of mid-line endings, enjambments, end-stops, short lines (less than 5 feet), trochees, spondees, anapaests, assonance, alliteration, simile, metaphor and repetition are all used by the author to guide the actor, helping with character creation. Coded into the structure of his writing are instructions to the actor – where to pause, which words to stress, etc; in much the same way as a composer instructs the musicians through the use of bars and symbols. Being able to decode these instructions helps the actor to be able to create the character out of the text. Switching from verse to prose and back again, Shakespeare guides the actors through the emotional roller coaster of his plays. Shakespeare uses the whole range of linguistic devices available in the English language and they are employed for the actor to use when creating his character.

 

Schedule

Wednesday 23 April 2014, 16h-18h.

Room: V106B.

 
 

Leader

Christine Farenc (France)

Christine Farenc is an actress, director and drama teacher. She holds a PhD in theatre studies from the University Paris 3 – Sorbonne Nouvelle, where she has directed several workshops dedicated to “Acting Shakespeare” in English. She now teaches at the University Paris 8 – Vincennes, Ecole Supérieure d’Art Dramatique de Paris and SciencesPo Paris. Her research focuses on the English and French drama repertoire, an interdisciplinary approach to acting and actors’ status, the question of artistic education as well as teaching English as a foreign language through theatre.

 

Description

Acting Shakespeare requires a physicality that is rooted in the English language. This workshop will enable the participants to explore the possibilities of embodying the veiled latin and francophone parts of Shakespeare’s English. Our exploration will be two-fold. First, specific warm-up exercises related to the iambic pentameter —the Shakespearian verse — will help the participants to begin to understand what is often referred to as the “iambic code”, which is key to playing Shakespeare. Secondly, participants will be able to put these principles into action with short extracts from the author’s works.
 

Schedule

Tuesday 22 April 2014, 15h30-17h30.

Room: V106B.

 
 

Workshop 5

Working from cue scripts: An actor’s approach to performing duologues
 

Leaders

Vanessa Ackerman and Stephanie Street (UK)

Vanessa Ackerman
As an actress, Vanessa’s credits include leading roles for companies such as the Royal Shakespeare Company, the Royal Court Theatre, the Lyric Theatre Hammersmith, Theatre 503, the Finborough, and Howard Barker’s Wrestling School as well as on television and radio for the BBC and ITV.
As a director, she created a stage adaptation of Israeli writer Etgar Keret’s short stories the RSC fringe festival and for the Crossing Borders Festival in Holland. She has worked with emerging playwrights through workshops with new writing venues such as Soho Theatre and the Royal Court’ young playwright’s programmes and as a judge on the European Independent Film Festival scriptwriting competition.
She also works as a translator in English, French and Russian.
Vanessa trained at LAMDA and has an MA in Shakespeare Studies from Birmingham University’s Shakespeare Institute. She is currently pursuing doctoral studies, investigating the representation of gender and its intersection with current advances in psychology in Shakespearean performance.

Stephanie Street
Stephanie was born and grew up in Singapore. She studied English at Cambridge University before going on to train on a scholarship at LAMDA.
Her theatre work has taken her from the National Theatre to the Royal Court, The Bush, Sheffield Crucible, Liverpool Everyman and Bristol Old Vic working with directors such as Peter Gill, Max Stafford-Clark, Josie Rourke, Nina Raine, Tamara Harvey, Polly Findlay, Iqbal Khan, Mike Longhurst and Simon Reade.
Stephanie has also worked extensively in television, playing regular and lead roles in series across BBC, ITV, Channel 4 and Sky.
As a playwright, Stephanie’s first play, Sisters, was produced at the Sheffield Crucible in 2010. Under Daniel Evans’ artistic directorship the play re-opened the Studio after the theatre’s two-year closure for refurbishment, to critical acclaim.
1n 2011, she received a whatsonstage Awards nomination for Best Solo Performance for Nightwatchman at the National Theatre.
Stephanie is also an Artistic Associate of HighTide Festival, a Selector for the National Student Drama Festival and a trustee of Shakespeare North.

 

Description

After a vocal and physical warm-up we will explore the cue script technique to work on a variety of short duologues. The session will culminate in a performance of these duologues with feedback and discussion.
 

Schedule

Saturday 26 April 2014, 15h-17h.

Room: V106B.

 
 

Leader

Julian Bowsher
Senior archaeologist / Numismatist
Research and Education
Museum of London Archaeology (MOLA)

Julian Bowsher worked in the art world for a couple of years before studying Roman archaeology at London University. He then spent a number of years on archaeological projects in Europe and the Middle East – which included the excavation of a Roman theatre in Jordan. Since joining the Museum of London in the mid 1980s he became involved with the archaeology and history of the Tudor and Stuart period.

The discovery and excavation of the Rose theatre in 1989 was a milestone in ‘Shakespearean archaeology’ and Julian has pioneered its study, bringing together archaeologists, scholars and actors. The 2009 publication of the Rose and the Globe excavations (written with Pat Miller) attracted glowing reviews and won three awards. Further books and articles on the phenomenon of Shakespeare’s theatres is appended. Julian has published five books, over 80 articles, reports and reviews, and has written about 100 unpublished reports on London sites. Further books and articles, on a range of subjects, are in progress. Julian has lectured extensively in Britain and abroad and appeared on TV and radio. He is a Fellow of the Society of Antiquaries, Fellow of the Royal Numismatic Society, and Member of the Institute of Field Archaeologists.

 

Description

The archaeological discovery of the Rose and Globe, two of London’s unique ‘Shakespearean playhouses’, 25 years ago aroused great interest around the world, not least because it heralded the arrival of modern scientific archaeological work on to the new multidisciplinary ‘Shakespearean stage’. For the first time in 400 years we had physical evidence to the actual playhouses that Shakespeare and his contemporaries knew, wrote for and acted in. Since then, further discoveries have provided (in various detail) the location, size and shape of these buildings – often with evidence for rebuilding or alteration – and the spatial awareness of stage and auditorium. The excavations also revealed material evidence left behind by the people who attended and worked in these venues; management, actors and audience, such as their clothes, money, personal items and so on.

Museum of London Archaeology has a unique record in pioneering the excavation of these theatrical venues. No less than nine of these sites have been subject to archaeological investigation; the Theatre, the Curtain, the Rose, the Boars Head, the Globe, the Hope and the Phoenix as well as two of the Bankside animal baiting arenas.

Combined with documentary research, the archaeological work has illuminated many references and debunked many myths. This seminar hopes to address and discuss this myriad evidence and the numerous questions that have emerged.

 

Schedule

Thursday 24 April 2014, 9h-10h30.

Room: V106B.

 
 

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Panels

Panel 1

Shakespeare in Brazilian Popular Culture
 

Leader

Aimara da Cunha Resende, Centro de Estudos Shakespeareanos (Brazil)
 

Participants

  1. Livia Segurado Nunes, Aix-Marseille Université – LERMA (France)
    Shakespeare à la Brasileira: A comical and folkloric Richard III
  2. Aimara da Cunha Resende, Centro de Estudos Shakespeareanos (Brazil)
    Shakespeare on the Brazilian Screens

 

Schedule

Thursday 24 April 2014, 11h-12h30.

Room: V106B.

 

More information

For abstracts, click here.
 
 

Panel 2

Shakespeare and Science
 

Leaders

Sophie Chiari (chiarisophie@hotmail.com) is a Senior Lecturer in English Literature at Aix-Marseille University, France. She has written several articles on Elizabethan drama and poetry, and has recently published a monograph on The Image of the Labyrinth in the Renaissance (Champion, 2010). She has just completed a translation of Jane Austen’s Pride and Prejudice into French (Le livre de poche, 2011) and a revised edition of Renaissance Tales of Desire (CSP, 2012). She is currently working on a special issue of EREA devoted to colours in early modern England as well as on a book devoted to William Shakespeare and Robert Greene (Classiques Garnier). She is also part of a collaborative project coordinated by Jean-Michel Déprats and focused on the translation of Tennessee Williams’s dramatic works (Editions théâtrales).
Mickael Popelard (mickael.popelard@unicaen.fr) is a Senior Lecturer in English studies at the University of Caen-Basse Normandie, France. His interests include Renaissance literature as well as the history of ideas. He has written several articles on Elizabethan drama and early modern men of science such as John Dee or Thomas Harriot. His latest publications include a book on Francis Bacon (Francis Bacon: l’humaniste, le magicien, l’ingénieur, Paris, PUF, 2010) and a monograph on the figure of the scientist in Shakespeare’s The Tempest and Marlowe’s Doctor Faustus (Rêves de puissance et ruine de l’âme: la figure du savant chez Shakespeare et Marlowe, Paris, PUF, 2010). He has also recently contributed to a volume on the quest for the Northwest Passage edited by Frédéric Regard (The Quest for the Northwest Passage, London, Pickering and Chatto, 2013).
 

Participants

Panel A: Shakespeare et la science

  1. Frank Lestringant, Paris Sorbonne (France)
    La Tempête de Shakespeare, ou le témoignage de la cartographie renaissante
  2. Margaret Jones-Davies, Université Paris Sorbonne (France)
    Les énigmes abstraites (‘abstract riddles’) de l’alchimie (Ben Jonson, The Alchemist, 2.1.104)
  3. Pierre Iselin, Université Paris Sorbonne (France)
    La musique : science ou pratique ?
  4. Pascal Brioist, Université de Tours (France)
    L’école de la nuit revue et corrigée

Panel B: Shakespeare and Science

  1. Carla Mazzio, University at Buffalo, SUNY (USA)
    The Drama of Mathematics in the Age of Shakespeare
  2. Jonathan Pollock, University of Perpignan (France)
    Shakespeare and Atomism
  3. Anne-Valérie Dulac, University of Paris 13 Nord (France)
    Shakespeare’s Alhazen: Love’s Labour’s Lost and the history of optics
  4. Liliane Campos, University of Paris 3-Sorbonne Nouvelle (France)
    Wheels have been set in motion”: geocentrism and relativity in Stoppard’s Rosencrantz and Guildenstern are Dead

 

Schedule

Panel A: Friday 25 April 2014, 9h-10h30

Panel B: Friday 25 April 2014, 11h-12h30.

Room: Vendôme.

 

More information

For abstracts, click here.
 
 

Panel 3

Shakespeare Jubilees on three Continents
 

Leader

Christa Jansohn, University of Bamberg (Germany) and Dieter Mehl, University of Bonn (Germany)
 

Participants

  1. Andrew Dickson, Theatre Editor for the Guardian (UK)
    National Poet or National Disgrace? Britain’s Tercentenary of 1864
  2. Marie-Clémence Régnier, Université Paris Sorbonne (France)
    «Que peut donc le bronze là où est la gloire?» The French Jubilee in 1864: monuments and pilgrimage in Stratford in Victor Hugo’s William Shakespeare
  3. Júlia Paraizs, Hungarian Academy of Sciences (Hungary)
    Festive and Critical Approaches: Shakespeare’s Tercentenary (1864) in Hungary
  4. Ann Jennalie Cook, Vanderbilt University (USA)
    Commemorations Behind the Scenes
  5. Alfredo Michel Modenessi, Universidad Nacional Autónoma de México (Mexico)
    Latin America, 1964: Art and Politics in the Year of Celebrating Shakespeare
  6. Mami Adachi, University of the Sacred Heart, Tokyo (Japan)
    Commemorating Shakespeare in Japan

 

Schedule

Panel A: Tuesday 22 April 2014, 9h-10h30.

Panel B: Tuesday 22 April 2014, 11h-12h30.

Room: ENS, salle Dussane.

 

More information

In this panel we propose to discuss the different ways in which geographically distant countries – with their distinct cultural traditions and political histories – have celebrated Shakespeare. This has not until now been the object of a comparative study; and we hope that ours will throw some new light on his contribution to global cultural life.

For abstracts, click here.

 
 

Panel 4

Secular Shakespeares
 

Leader

Edward Simon (USA)
 

Participants

  1. Andrea F. Trocha-Van Nort, United States Air Force Academy (USA)
    Shakespeare’s Secular Man within Nature
  2. Camilla Caporicci, University of Perugia (Italy)
    “I Guess One Angel in Another’s Hell”: The “Heretical” Nature of the Dark Lady Sonnets and Their Reception
  3. Jean-Louis Claret, Aix-Marseille University (France)
    Shakespeare the Atheist
  4. Cristiano Ragni, University of Perugia (Italy)
    «Necessity will make us all forsworn»: French brawls and Machiavellian kings in Shakespeare’s plays

 

Schedule

Friday 25 April 2014, 9h-10h30.

Room: V106B.

 

More information

For abstracts, click here.
 
 

Panel 5

Born before and after Shakespeare
 

Leaders

Anne-Valérie Dulac, Université Paris 13 Nord (France) and Laetitia Sansonetti, École polytechnique and EA PRISMES – Université Paris 3 (France)
 

Participants

Panel A: Tradition and the Shakespearean talent (chair: Laetitia Sansonetti)

  1. Andy Auckbur, Université de Reims Champagne-Ardenne (France)
    “He was another Nature”: Shakespeare’s genius and sixteenth-century literary theory
  2. Daniel Cadman, Sheffield Hallam University (United Kingdom)
    ‘Quick Comedians’: Garnier, Sidney, and Antony and Cleopatra
  3. Sally Barnden, King’s College, London (United Kingdom)
    The man with the skull: negotiating Hamlet’s appropriation of memento mori art

Panel B: Shakespeare and his foils (chair: Anne-Valérie Dulac)

  1. Chantal Schütz, École polytechnique and EA PRISMES – Université Paris 3 (France)
    Middleton and Shakespeare: collaboration, parody and rewriting
  2. Rémi Vuillemin, Université de Strasbourg (France)
    ‘The course of true love never did run smooth’: Renaissance Petrarchism and Shakespearean criticism
  3. Laetitia Sansonetti, École polytechnique and EA PRISMES – Université Paris 3 (France)
    Shakespeare = Marlowe + Spenser? The coincidence of opposites as critical dogma

 

Schedule

Panel A: Saturday 26 April 2014, 9h-10h30

Panel B: Saturday 26 April 2014, 11h-12h30.

Room: Vendôme.

 

More information

For abstracts, click here.
 
 

Panel 7

Telling Tales of / from Shakespeare: Indian Ishtyle
 

Leaders

Dr. Poonam Trivedi, Associate Professor, Department of English, Indraprastha College, University of Delhi, Delhi (India) poonamtrivedi2@gmail.com

Dr. Sarbani Chaudhury, Professor, Department of English, University of Kalyani, Kalyani, India sarbanich@gmail.com

 

Participants

  1. Sarbani Chaudhury, University of Kalyani (India)
    Fun, Frolic and Shakespeare: Kalyani Ishtyle
  2. Poonam Trivedi, University of Delhi (India)
    Rhapsode of Shakespeare: V Sambasivan’s popular kathaprasangam / storytelling
  3. Paromita Chakravarti, Jadavpur University, Kolkata (India)
    Taming of the Bard, Bengali ishtyle: Domesticating farce in Srimati Bhayankari
  4. Preti Taneja, Royal Holloway, University of London (UK)
    Who is the wise man and who is the Fool? The importance of buffoonery in Indian Shakespeare

 

Schedule

Tuesday 22 April 2014, 9h-10h30.

Room: V106B.

 

More information

For abstracts, click here.
 
 

Panel 8

Shakespeare and ‘th’intertrafique’ of French and English Texts and Manners
 

Leaders

Dympna Callaghan, M. Tudeau-Clayton, Lukas Erne, Indira Ghose (USA-Switzerland)
 

Participants

  1. Lukas Erne, University of Geneva (Switzerland)
    Reconfiguring Shakespeare: Catholic and Protestant Editing
  2. Margaret Tudeau-Clayton, University of Neuchâtel (Switzerland)
    “All of one communitie”: Shakespeare, Florio and the translation of Montaigne
  3. Indira Ghose, University of Fribourg (Switzerland)
    Shakespeare, Civility, and Identity in Early Modern England
  4. Dympna Callaghan, Syracuse University (USA)
    Shakespeare and the Culture of Resemblance

 

Schedule

Thursday 24 April 2014, 9h-10h30

Room: L109.

 

More information

For abstracts, click here.
 
 

Panel 9

Bakhtinian Forays into Shakespeare: Word, Gestures, Space
 

Leaders

Carla Dente, Martin Procházka, Pavel Drábek (Italy-Czech Rep.-UK)
 

Participants

  1. Carla Dente, University of Pisa (Italy)
    Heteroglossia and Text Construction in the Framework of Political and Cultural Diversity: From Shakespeare’s Henry V to Greig’s Dunsinane
  2. Pavel Drábek, University of Hull (United Kingdom)
    Heteroglossic Subjects: the Dialogism of the Shakespearean Actor
  3. Martin Procházka, Charles University in Prague (Czech Republic)
    Chronotope and Heterotopia: Carnival Time and Grotesque Bodies in Twelfth Night and The Second Part of Henry IV

 

Schedule

Friday 25 April 2014, 9h-10h30

Room: V106A.

 

More information

For abstracts, click here.
 
 

Panel 10

Shakespeare and Natural History
 

Leader

Christopher Leslie, Polytechnic School of Engineering at New York University (USA)
 

Participants

Panel A

Panel A

  1. Justin Kolb, American University in Cairo (Egypt)
    “The Dissolution of the Engine of this World”: The decay of nature and the Anthropocene in the history plays
  2. Felix Sprang, University of Hamburg (Germany)
    “What manner o’ thing is your crocodile?” Shakespeare’s Animals – a Class of Their Own.
  3. Martin Hyatt, Ph.D., independent scholar
    Shakespeare and Birds
  4. Jarosław Włodarczyk, Polish Academy of Sciences and Maria Curie-Skłodowska University, Lublin
    and Zuzanna Czerniak, Maria Curie-Skłodowska University, Lublin (Poland)
    Astronomical Fragments in Shakespeare and Modern History of Astronomy

Panel B

  1. Christopher Leslie, Polytechnic School of Engineering at New York University (USA)
    Specters of Unnatural History in Macbeth
  2. Marianne Kimura, Yamaguchi Prefectural College (Japan)
    Hamlet as a Cosmic Allegory about Solar Energy
  3. Shu-hua Chung, Tung Fang Design Institute (Taiwan)
    Nature in The Tempest
  4. Neslihan Ekmekçioğlu, Hacettepe University and Bilkent University (Turkey)
    The Tempest in Prospero’s Mind and in Outer Space, Reflecting the Creative Imagination of the Artist and the Natural History of the Time

 

Schedule

Panel A: Saturday 26 April 2014, 9h-10h30.

Panel B: Saturday 26 April 2014, 11h-12h30.

Room: V115/V116.

 

More information

For abstracts, click here.
 
 

Panel 11

’The Undiscovered Country – the Future’ – Shakespeare in Science Fiction
 

Leader

Simone Broders, Friedrich-Alexander-Universität Erlangen-Nürnberg (Germany)
 

Participants

  1. Simone Broders, Friedrich-Alexander-Universität Erlangen-Nürnberg (Germany)
    “TaH pagh, taHbe'” – Shakespearean Heritage in the Postmodern Space Opera
  2. Delilah Bermudez Brataas, Sør-Trøndelag University College, Trondheim (Norway)
    The Extraordinary Presence of Shakespeare and his Characters in Alan Moore’s League of Extraordinary Gentlemen
  3. Sujata Iyengar, University of Georgia (USA)
    ‘Desdemona’s Voice’: The Shakespearean Past in Jeff Noon’s Vurt
  4. Jennifer Drouin, University of Alabama (USA)
    Doctor Who‘s “The Shakespeare Code”, or Science Fiction as a new New Historicism

 

Schedule

Wednesday 23 April 2014, 16h-17h30.

Room: Vendôme.

 

More information

For abstracts, click here.
 
 

Panel 12

Crossroads: 21st century perspectives on Shakespeare’s Classical Mythology
 

Leaders

Agnès Lafont, University of Montpellier – Institut d’Etudes sur la Renaissance, L’âge Classique et les Lumières, UMR 5186 (France)
and Atsuhiko Hirota, Kyoto University (Japan)
 

Participants

Chair : Yves Peyré, Université Paul Valéry, Montpellier (France)

  1. Charlotte Coffin, Université Paris Est Créteil Val de Marne (France)
    Where from and where to? Heywood’s appropriation of classical mythology in The Golden Age (1611)
  2. Tania Demetriou, University of York (UK)
    The Genre of Myth, or Myth without Ovid?
  3. Atsuhiko Hirota, University of Kyoto (Japan)
    Venetian Enchantresses and Egyptian Sorcery: Transformations of the Circean Myth in Othello
  4. Agnès Lafont, Université Paul Valéry, Montpellier (France)
    Ovidian emergences in Spenser’s Faery Queen: Britomart and Myrrha, an unexpected textual junction?
  5. Janice Valls-Russell, Université Paul Valéry, Montpellier (France)
    Constance and Arthur as Andromache and Astyanax? Trojan Shadows in Shakespeare’s King John

 

Schedule

Friday 25 April 2014, 11h-12h30.

Room: L106.

 

More information

For abstracts, click here.
 
 

Panel 13

Popular Shakespeares in East Asia: Local and Global Dissemination
 

Leaders

Yilin Chen (Providence University, Taiwan) and Ryuta Minami (Shirayuri College, Japan)
 

Participants


Session A: Theoretical Perspectives on Manga and Animation Shakespeares

Chair: Ryuta Minami (Shirayuri College, Japan)

  1. Yilin Chen, Providence University (Taiwan)
    Frailty, Thy Name Is Woman”: A Striking Absence of Gertrude and Her Sexuality in the Taiwanese Graphic Novels of Hamlet
  2. Ma Yujin, University of London (UK)
    A Brief Study of the Readership of Chinese Shakespeare Manga
  3. Ryuta Minami, Shirayuri College (Japan)
    Global Dissemination of Fragments of Shakespeare in Japanese Anime (Animation Films)

Session B: Practitioners’ Perspectives on Shakespeares and Manga

Chair: Yilin Chen, Providence University (Taiwan)

  1. Yukari Yoshihara, University of Tsukuba (Japan)
    Which is more global, manga or Shakespeare?
  2. Harumo Sanazaki,(Manga Artist (Japan) (with Ryuta Minami as an interpreter)
    Creating Manga Shakespeare for Mature female Readers: a Sex-Positive Feminist’s Point of View
  3. Emma Hayley, Managing Director of SelfMadeHero (UK)
    On SelfMadeHero’s Manga Shakespeare Series
  4. Sonia Leon, Manga Artist (UK), creator of  Manga Shakespeare: Romeo and Juliet

 

Schedule

Panel A: Wednesday 23 April 2014, 9h-10h30.

Panel B: Thursday 24 April 2014, 9h-10h30.

Room: Vendôme.

 

More information

For abstracts, click here.
 
 

Panel 14

Shakespeare and Levinas: Dialogue between a Playwright and a Philosopher
 

Leaders

Sean Lawrence and James Knapp (Canada-USA)
 

Participants

Panel A: Shakespearean Levinas

  1. Bruce Young, Brigham Young University (USA)
    Maternity, Substitution, and Transcendence: The Feminine in Shakespeare and Levinas
  2. Kent R. Lehnhof, Chapman University (USA)
    Disincarnating God: Theology and Phenomenology in King Lear
  3. Sean Lawrence, University of British Columbia (Canada)
    The Peace of Empires and the Empire of Peace in Shakespeare and Levinas

Panel B: Levinasian Shakespeare

  1. David Goldstein, York University (Canada)
    Blindness and Welcome in King Lear
  2. James Kearney, University of California, Santa Barbara (USA)
    Money, Sociality, Justice: The Levinasian Third and The Merchant of Venice
  3. James Knapp, Loyola University Chicago (USA)
    Time and the Other in Shakespeare’s Cymbeline

 

Schedule

Panel A: Thursday 24 April 2014, 11h-12h30.

Panel B: Friday 25 April 2014, 11h-12h30.

Room: V106A.

 

More information

For abstracts, click here.
 
 

Panel 15

Celebrating Shakespeare: Commemoration and Cultural Memory
 

Leaders

Clara Calvo, Universidad de Murcia (Spain) and Coppélia Kahn, Brown University (USA)
 

Participants

Panel A:

  1. Andrew Murphy, University of St. Andrews (UK)
    Radical Commemorations: 1864 Chartists and 1916 Rebels
  2. Monika Smialkowska, Northumbria University (UK)
    Reluctant Commemorators: Rudyard Kipling’s and Thomas Hardy’s Contributions to Israel Gollanz’s A Book of Homage to Shakespeare
  3. Nely Keinänen, University of Helsinki (Finland)
    Commemoration as Nation-Building: The Case of Finland, 1916

Panel B:

  1. Richard Schoch, Queen’s University Belfast (Ireland)
    Genealogies of Shakespearean Acting
  2. Graham Holderness, University of Hertfordshire (UK)
    Remembrance of Things Past: 1851, 1951, 2012
  3. Nicola J. Watson, Open University (UK)
    Gardening with Shakespeare

 

Schedule

Panel A: Wednesday 23 April 2014, 9h-10h30

Panel B: Wednesday 23 April 2014, 16h-17h30.

Room: V107.

 

More information

For abstracts, click here.
 
 

Panel 16

Shakespeare and Architecture
 

Leader

Roy Eriksen (Norway)
 

Participants

  1. Michael Alijewicz, Queen’s University Belfast (Ireland)
    Birnam Wood Moves on the Stage: Reading Probability and Architecture in Macbeth
  2. Lois Leveen (USA)
    Putting the ‘Where’ into ‘Wherefore Art Thou’: Urban Architectures of Desire in Romeo and Juliet
  3. Muriel Cunin, Université de Limoges (France)
    Shakespeare, Architecture and Privacy
  4. Melissa Auclair, University of Toronto (Canada)
    Coming into the Closet: Spatial Practices and Imagined Space in Shakespeare’s Plays

 

Schedule

Thursday 24 April 2014, 11h-12h30.

Room: L109.

 

More information

For abstracts, click here.
 
 

Panel 17

Shakespeare and the Popular Culture within/Beyond the Asian Identities
 

Leader

Kang Kim, Honam University (S-Korea)
 

Participants

Panel A:

  1. Renfang Tang, University of Hull (UK)
    From Shakespeare’s Text to Chinese Stage: Performance-oriented Translation of Measure for Measure
  2. Pawit Mahasarinand, Chulalongkorn University (Thailand)
    Shakespeare in Contemporary Thailand: Macbeth in Thai Politics and Othello in Thai Premier League
  3. Thea Buckley, University of Birmingham (UK)
    Appropriating Shakespeare in South Asia: Cases of the Malayalam Films

Panel B:

  1. Yukari Yoshihara, University of Tsukuba (Japan)
    Transvestites in Shakespeare and Manga Adaptations of Shakespeare
  2. Kang Kim, Honam University (S-Korea)
    Graphic Shakespeare in Korea: From Literature to Pop Culture
  3. Lipika Das, IIIT Unitary University-Odisha (India)
    The Effects of Western impact on Odia literature through Shakespeare Translations

 

Schedule

Tuesday 22 April 2014, 11h-12h30.

Room: V106B.

 

More information

For abstracts, click here.
 
 

Panel 18

«As you like it!», la psychanalyse à la rencontre de Shakespeare
 

Leader

Marthe Dubreuil (France)
 

Participants

  1. Philippe Adrien, stage director (France)
  2. Marielle David, Pédopsychiatre psychanalyste (France)
    Roméo et Othello, «Objet ou sujet de la passion?»
  3. Marthe Dubreuil, actress and stage director, Psychologue clinicienne psychanalyste (France)
    Shakespeare, aux limites du genre
  4. Thémis Golégou, Université Paris 7 (France)
    Ophélie, «le signe éternel» de la fin
  5. Christian Hoffmann, Université Paris 7 (France)
    Le désir d’Hamlet
  6. Alain Vanier, Université Paris 7 (France)

 

Schedule

Thursday 24 April 2014, 11h-12h30

Room: Vendôme.

 

More information

Le panel propose une approche psychanalytique de certains des héros shakespeariens, à partir des concepts fondamentaux de la psychanalyse, de Freud à Lacan: Le complexe œdipien, deuil et mélancolie, désir et relation d’objet, fonction paternelle. Le metteur en scène Philippe Adrien complètera cette approche en racontant comment sa connaissance de la psychanalyse a pu, ou non, modifier son regard dans ses mises en scène de Shakespeare.
 
 

Panel 19

‘This Earth’
 

Leader

Ruth Morse (France)
 

Participants

Chair: Indira Ghose, Université de Fribourg (Switzerland)

  1. Ruth Morse, Université Paris-Diderot (France)
    Earths
  2. Russ McDonald, Goldsmiths College, University of London (UK)
    Come Into the Garden, Bard
  3. David Schalkwyk, director of Global Shakespeare, Queen Mary University of London / University of Warwick (UK)
    Land and Freedom

 

Schedule

Friday 25 April 2014, 11h-12h30.

Room: V106B.

 

More information

For abstracts, click here.
 
 

Panel 20

Moving Shakespeare: Approaches in Choreographing Shakespeare
 

Leader

Marisa C. Hayes, Festival International de Vidéo Danse de Bourgogne (France/USA)
 

Participants

  1. Sidia Fiorato, University of Verona (Italy)
    From Verbal to Visual Aesthetics: Remediating Shakespeare Through the Dancing Body
  2. Lorelle Browning, Pacific University (USA)
    Adapting Shakespeare’s Rhythmic Structure to Movement
  3. Freya Vass-Rhee, PhD, University of Kent (UK)
    Hamlet and the Creation of William Forsythe’s Sider

 

Schedule

Tuesday 22 April 2014, 9h-10h30.

Room: V115/V116.

 

More information

For abstracts, click here.
 
 

Panel 21

Diplomacy, International Relations and The Bard in the Pre- and Post-Westphalian Worlds
 

Leader

Nathalie Rivere de Carles (France)
 

Participants

  1. Timothy Hampton, University of California at Berkeley (USA)
    Delay, Deferral, and Interpretation in Renaissance Peacemaking
  2. Joanna Craigwood, Sidney Sussex College, Cambridge (UK)
    Diplomacy and King John
  3. Nathalie Rivere de Carles, Université Toulouse Le Mirail (France)
    Mutual disarmament and the politics of appeasement in Shakespearean drama

 

Schedule

Thursday 24 April 2014, 9h-10h30.

Room: TBA.

 

More information

For abstracts, click here.
 
 

Panel 22

Shakespeare and Marlowe
 

Leader

Lisa Hopkins, Sheffield Hallam University (UK)
 

Participants

  1. Chloe Preedy, University of Exeter (UK)
    Fortune’s Breath: Rewriting the Classical Storm in Marlowe and Shakespeare
  2. Paul Frazer, Northumbria University (UK)
    Marlowe and Shakespeare Restaged: Influence, Appropriation, and ‘Mobility’ in Thomas Dekker’s Drama
  3. Roy Eriksen, University of Agder (Norway)
    Working with Marlowe: Shakespeare’s Early Engagement with Marlowe’s Poetics

 

Schedule

Friday 25 April 2014, 9h-10h30.

Room: L106.

 

More information

For abstracts, click here.
 
 

Panel 23

Shakespeare, Satire and ‘Inn Jokes’
 

Leader

Jackie Watson, Birbeck College, London (UK)
 

Participants

  1. Simon Smith, Birkbeck College, London (UK)
    Robert Armin on Shakespeare: The Two Maids of More-Clacke
  2. Derek Dunne, Queen’s University, Belfast (UK)
    Serious Joking with Shakespeare’s Hamlet
  3. Jackie Watson, Birkbeck College, London (UK)
    Satirical expectations: Shakespeare’s Inns of Court audiences

 

Schedule

Saturday 26 April 2014, 9h-10h30

Room: V106A.

 

More information

For abstracts, click here.
 
 

Panel 24

Shakespeare’s World in 1916
 

Leader

Gordon McMullan, King’s College London (UK)
 

Participants

  1. Ailsa Grant Ferguson, King’s College London (UK)
    “Under strange conditions”: Shakespeare at the Front
  2. Clara Calvo, University of Murcia (Spain)
    Shakespeare and the Red Cross: The 1916 Grafton Galleries Exhibition
  3. Gordon McMullan, King’s College London (UK)
    Goblin’s Market: Commemoration, Anti-Semitism and the Invention of “Global” Shakespeare in 1916
  4. Philip Mead, University of Western Australia (Australia)
    Antipodal Shakespeare

 

Schedule

Tuesday 22 April 2014, 9h-10h30.

Room: V106A.

 

More information

For abstracts, click here.
 
 

Panel 25

Shakespeare et les romans hispano-américains
 

Leader

Cécile Brochard, Université de Nantes (France)
 

Participants

  1. Isabelle Colrat, Université Paris 3 Sorbonne Nouvelle (France)
    Mémoire et pouvoir chez Carlos Fuentes : l’héritage shakespearien
  2. Lydie Royer, Université de Reims Champagne Ardenne, URCA (France)
    Les mises en scènes dans Palais Distants d’Abilio Estévez, roman cubain du
    XXIe siècle
  3. Cécile Brochard, Université de Nantes (France)
    Shakespeare et les romans hispano-américains du pouvoir

 

Schedule

Saturday 26 April 2014, 11h-12h30.

Room: V106B.

 

More information

For abstracts, click here.
 
 

Panel 26

Shakespeare in French Theory
 

Leader

Richard Wilson, Kingston University (UK)
 

Participants

  1. Howard Caygill, Professor of Modern European Philosophy at Kingston University (UK), author of Levinas and the Political (London: Routledge, 2002).
  2. Ken McMullen, Anniversary Professor of Film Studies at Kingston University (UK), director of Ghost Dance, the 1983 film focusing on Jacques Derrida.
  3. Martin McQuillan, Professor of Literary Theory and Cultural Analysis and Dean of the Faculty of Arts and Social Sciences at Kingston University (UK), author of The Politics of Deconstruction: Jacques Derrida and the Other of Philosophy (London: Pluto Press, 2007).
  4. Richard Wilson, Sir Peter Hall Professor of Shakespeare Studies at Kingston University (UK), author of Shakespeare in French Theory: King of Shadows (London: Routledge, 2007).
  5. Simon Morgan Worthan, Professor of Humanities at Kingston University (UK), co-Director of the London Graduate School, author of The Poetics of Sleep: from Aristotle to Nancy (London: Bloomsbury, 2014).

 

Schedule

Thursday 24 April 2014, 9h-10h30.

Room: V106A.

 

More information

For description, click here.
 
 

Panel 27

Speaking ‘but in the figures and comparisons of it’? Figurative speech made literal in Shakespeare’s drama / page and stage
 

Leaders

Denis Lagae-Devoldère and Anne-Marie Miller-Blaise (France)
 

Participants

Chair and respondent: Denis Lagae-Devoldère, Université Paris-Sorbonne / Paris 4 (France)

  1. Rocco Coronato, University of Padua (Italy)
    Wafer-Cakes and Serpents: Melting the Symbol in Antony and Cleopatra
  2. John Gillies, University of Essex (UK)
    Calvinism as Tragedy in Othello
  3. Harry Newman, University of Kent (UK)
    ‘I spake but by a metaphor’ : The Material Culture of Metaphors in Shakespearean Drama
  4. Anne-Marie Miller-Blaise, Université Sorbonne Nouvelle / Paris 3 (France)
    Literal Vienna

 

Schedule

Tuesday 22 April 2014, 11h-12h30.

Room: V115/V116.

 

More information

For abstracts, click here.
 
 

Panel 28

Shakespearean festivals and anniversaries in Cold War Europe 1947-1988
 

Leaders

Erica Sheen and Isabel Karremann (UK-Germany)
 

Participants

Respondents:

  1. Adam Piette, University of Sheffield (UK)
  2. Geoff Cubitt, University of York (UK)

Panelists:

  1. Erica Sheen, University of York (UK)
    ‘Zu politisch’:  Berlin and the Elizabethan Festival, 1948
  2. Nicole Fayard, University of Leicester (UK)
    Shakespeare’s Theatre of War in 1960s France
  3. Keith Gregory, University of Murcia (Spain)
    Coming out of the cold: the celebration of Shakespeare in Francoist Spain
  4. Isabel Karremann, University of Würzburg (Germany)
    Shakespeare in Cold War Germany: The Split of the German Shakespeare Society in 1964
  5. Krystyna Kujawinska Courtney, University of Łódź (Poland)
    A Story of One Publication: Commemorating the Fourth Centenary of Shakespeare’s Birth in Poland
  6. Irene R. Makaryk, University of Ottawa (Canada)
    1964: Shakespeare in the USSR
  7. Veronika Schandl, Pázmány Péter Catholic University (Hungary)
    ‘Memory holds a seat in this distracted globe’: Shakespeare productions in Hungary in 1976

 

Schedule

Panel A: Tuesday 22 April 2014, 11h-12h30.

Panel B: Wednesday 23 April 2014, 9h-10h30

Room: V106A.

 

More information

For abstracts, click here.
 
 

Panel 29

The ends and means of knowing in Shakespeare and his world
 

Leader

Subha Mukherji, University of Cambridge (UK)
 

Participants

  1. Lorna Hutson, University of St. Andrews (UK)
    Imaginary Work: Lucrece’s Circumstances
  2. Joe Moshenska, University of Cambridge (UK)
    King Lear, Awkwardness, and Intention: Tolstoy’s Diatribe Reconsidered
  3. Subha Mukherji, University of Cambridge (UK)
    ‘O she’s warm’: sense, assent and affective cognition in the early modern numinous

 

Schedule

Saturday 26 April 2014, 11h-12h30.

Room: V106A.

 

More information

For abstracts, click here.
 
 

Panel 30

Shakespeare et le roman
 

Leader

Marie Dollé, CERR/CERCLL, Université de Picardie Jules Verne (France)
 

Participants

  1. Camille Guyon-Lecoq, Université de Picardie Jules Verne (France)
    Mourir sur le théâtre, de Quinault à Voltaire : motif «romanesque» ou trace d’un modèle shakespearien inavoué ?
  2. Audrey Faulot, Université de Picardie Jules Verne (France)
    Cleveland au miroir d’Hamlet : le spectre et l’identité, de la scène tragique à la narration romanesque
  3. Isabelle Hautbout, Université de Picardie Jules Verne (France)
    Shakespeare dans les épigraphes du roman français au début du XIXe siècle
  4. Marie Dollé, Université de Picardie Jules Verne (France)
    Segalen et Shakespeare : le secret d’Hamlet

 

Schedule

Saturday 26 April 2014, 9h-11h30.

Room: V106B.

 

More information

For abstracts, click here.
 
 

Panel 31

Translations of Hamlet in Minority Cultures/Minor Languages
 

Leader

Márta Minier, University of South Wales (UK)
 

Participants

  1. Martin S. Regal, University of Iceland (Iceland)
    Hamlet in Icelandic
  2. Lily Kahn, University College London (UK)
    Domesticating Techniques in the First Hebrew Translation of Hamlet
  3. Roger Owen, Aberystwyth University (UK)
    On the Welsh Translations of Hamlet
  4. Nely Keinänen, University of Helsinki (Finland)
    Language-building and nation-building: the reception of Paavo Cajander’s translation of Hamlet, 1879

 

Schedule

Wednesday 23 April 2014, 16h-17h30.

Room: V106A.

 

More information

For abstracts, click here.
 
 

Comments are closed.

Panels

Panel 1

Shakespeare in Brazilian Popular Culture
 

Organisatrice

Aimara da Cunha Resende, Centro de Estudos Shakespeareanos (Brésil)
 

Participantes

  1. Livia Segurado Nunes, Aix-Marseille Université – LERMA (France)
    Shakespeare à la Brasileira: A comical and folkloric Richard III
  2. Aimara da Cunha Resende, Centro de Estudos Shakespeareanos (Brésil)
    Shakespeare on the Brazilian Screens

 

Horaire

Jeudi 24 avril 2014, 11h-12h30.

V106B.

 

Plus d’infos

Pour lire les résumés, cliquer ici (en anglais).
 
 

Panel 2

Shakespeare and Science
 

Organisateurs

Sophie Chiari (chiarisophie@hotmail.com) is a Senior Lecturer in English Literature at Aix-Marseille University, France. She has written several articles on Elizabethan drama and poetry, and has recently published a monograph on The Image of the Labyrinth in the Renaissance (Champion, 2010). She has just completed a translation of Jane Austen’s Pride and Prejudice into French (Le livre de poche, 2011) and a revised edition of Renaissance Tales of Desire (CSP, 2012). She is currently working on a special issue of EREA devoted to colours in early modern England as well as on a book devoted to William Shakespeare and Robert Greene (Classiques Garnier). She is also part of a collaborative project coordinated by Jean-Michel Déprats and focused on the translation of Tennessee Williams’s dramatic works (Editions théâtrales).

Mickael Popelard (mickael.popelard@unicaen.fr) is a Senior Lecturer in English studies at the University of Caen-Basse Normandie, France. His interests include Renaissance literature as well as the history of ideas. He has written several articles on Elizabethan drama and early modern men of science such as John Dee or Thomas Harriot. His latest publications include a book on Francis Bacon (Francis Bacon: l’humaniste, le magicien, l’ingénieur, Paris, PUF, 2010) and a monograph on the figure of the scientist in Shakespeare’s The Tempest and Marlowe’s Doctor Faustus (Rêves de puissance et ruine de l’âme: la figure du savant chez Shakespeare et Marlowe, Paris, PUF, 2010). He has also recently contributed to a volume on the quest for the Northwest Passage edited by Frédéric Regard (The Quest for the Northwest Passage, London, Pickering and Chatto, 2013).

 

Participants

Panel A: Shakespeare et la science

  1. Frank Lestringant, Université Paris Sorbonne (France)
    La Tempête de Shakespeare, ou le témoignage de la cartographie renaissante
  2. Margaret Jones-Davies, Université Paris Sorbonne (France)
    Les énigmes abstraites (‘abstract riddles’) de l’alchimie (Ben Jonson, The Alchemist, 2.1.104)
  3. Pierre Iselin, Université Paris Sorbonne (France)
    La musique : science ou pratique ?
  4. Pascal Brioist, Université de Tours (France)
    L’école de la nuit revue et corrigée

Panel B: Shakespeare and Science

  1. Carla Mazzio, University at Buffalo, SUNY (USA)
    The Drama of Mathematics in the Age of Shakespeare
  2. Jonathan Pollock, Université de Perpignan (France)
    Shakespeare and Atomism
  3. Anne-Valérie Dulac, Université Paris 13 Nord (France)
    Shakespeare’s Alhazen: Love’s Labour’s Lost and the history of optics
  4. Liliane Campos, Université Paris 3-Sorbonne Nouvelle (France)
    Wheels have been set in motion”: geocentrism and relativity in Stoppard’s Rosencrantz and Guildenstern are Dead

 

Horaire

Panel A: Vendredi 25 avril 2014, 9h-10h30.

Panel B: Vendredi 25 avril 2014, 11h-12h30.

Salle : Vendôme.

 

Plus d’infos

Pour lire les résumés, cliquer ici (en anglais).
 
 

Panel 3

Shakespeare Jubilees on three Continents
 

Organisatrices

Christa Jansohn, University of Bamberg (Allemagne) et Dieter Mehl, University of Bonn (Allemagne)
 

Participants

  1. Andrew Dickson, Theatre Editor for the Guardian (Royaume-Uni)
    National Poet or National Disgrace? Britain’s Tercentenary of 1864
  2. Marie-Clémence Régnier, Université Paris Sorbonne (France)
    «Que peut donc le bronze là où est la gloire?» The French Jubilee in 1864: monuments and pilgrimage in Stratford in Victor Hugo’s William Shakespeare
  3. Júlia Paraizs, Hungarian Academy of Sciences (Hongrie)
    Festive and Critical Approaches: Shakespeare’s Tercentenary (1864) in Hungary
  4. Ann Jennalie Cook, Vanderbilt University (États-Unis)
    Commemorations Behind the Scenes
  5. Alfredo Michel Modenessi, Universidad Nacional Autónoma de México (Mexique)
    Latin America, 1964: Art and Politics in the Year of Celebrating Shakespeare
  6. Mami Adachi, University of the Sacred Heart, Tokyo (Japon)
    Commemorating Shakespeare in Japan

 

Horaire

Panel A: Mardi 22 avril 2014, 9h-10h30.

Panel B: Mardi 22 avril 2014, 11h-12h30.

Salle: ENS, salle Dussane.

 

Plus d’infos

Pour lire les résumés, cliquer ici (en anglais).
 
 

Panel 4

Secular Shakespeares
 

Organisateur

Edward Simon (États-Unis)
 

Participants

  1. Andrea F. Trocha-Van Nort, United States Air Force Academy (États-Unis)
    Shakespeare’s Secular Man within Nature
  2. Camilla Caporicci, University of Perugia (Italie)
    “I Guess One Angel in Another’s Hell”: The “Heretical” Nature of the Dark Lady Sonnets and Their Reception
  3. Jean-Louis Claret, Aix-Marseille University (France)
    Shakespeare the Atheist
  4. Cristiano Ragni, University of Perugia (Italie)
    «Necessity will make us all forsworn»: French brawls and Machiavellian kings in Shakespeare’s plays

 

Horaire

Vendredi 25 avril 2014, 9h-10h30.

Salle : V106B.

 

Plus d’infos

Pour lire les résumés, cliquer ici (en anglais).
 
 

Panel 5

Born before and after Shakespeare
 

Organisateurs

Anne-Valérie Dulac and Laetitia Sansonetti (France)
 

Participants

Panel A: Tradition and the Shakespearean talent (présidence: Laetitia Sansonetti)

  1. Andy Auckbur, Université de Reims Champagne-Ardenne (France)
    “He was another Nature”: Shakespeare’s genius and sixteenth-century literary theory
  2. Daniel Cadman, Sheffield Hallam University (Royaume-Uni)
    ‘Quick Comedians’: Garnier, Sidney, and Antony and Cleopatra
  3. Sally Barnden, King’s College, London (Royaume-Uni)
    The man with the skull: negotiating Hamlet’s appropriation of memento mori art

Panel B: Shakespeare and his foils (présidence: Anne-Valérie Dulac)

  1. Chantal Schütz, École polytechnique and EA PRISMES – Université Paris 3 (France)
    Middleton and Shakespeare: collaboration, parody and rewriting
  2. Rémi Vuillemin, Université de Strasbourg (France)
    ‘The course of true love never did run smooth’: Renaissance Petrarchism and Shakespearean criticism
  3. Laetitia Sansonetti, École polytechnique and EA PRISMES – Université Paris 3 (France)
    Shakespeare = Marlowe + Spenser? The coincidence of opposites as critical dogma

 

Horaire

Panel A: Samedi 26 avril, 9h-10h30.

Panel B: Samedi 26 avril, 11h-12h30.

Salle: Vendôme.

 

Plus d’infos

Pour lire les résumés, cliquer ici (en anglais).
 
 

Panel 7

Telling Tales of / from Shakespeare: Indian Ishtyle
 

Organisateurs

Dr. Poonam Trivedi, Associate Professor, Department of English, Indraprastha College, University of Delhi, Delhi (Inde) poonamtrivedi2@gmail.com

Dr. Sarbani Chaudhury, Professor, Department of English, University of Kalyani, Kalyani (Inde) sarbanich@gmail.com

 

Participants

  1. Sarbani Chaudhury, University of Kalyani (Inde)
    Fun, Frolic and Shakespeare: Kalyani Ishtyle
  2. Poonam Trivedi, University of Delhi (Inde)
    Rhapsode of Shakespeare: V Sambasivan’s popular kathaprasangam / storytelling
  3. Paromita Chakravarti, Jadavpur University, Kolkata (India)
    Taming of the Bard, Bengali ishtyle: Domesticating farce in Srimati Bhayankari
  4. Preti Taneja, Royal Holloway, University of London (Royaume-Uni)
    Who is the wise man and who is the Fool? The importance of buffoonery in Indian Shakespeare

 

Horaire

Mardi 22 avril 2014, 9h-10h30.

Salle : V106B.

 

Plus d’infos

Pour lire les résumés, cliquer ici (en anglais).
 
 

Panel 8

Shakespeare and ‘th’intertrafique’ of French and English Texts and Manners
 

Organisateurs

Dympna Callaghan, Margaret Tudeau-Clayton, Lukas Erne, Indira Ghose (États-Unis-Suisse)
 

Participants

  1. Lukas Erne, University of Geneva (Suisse)
    Reconfiguring Shakespeare: Catholic and Protestant Editing
  2. Margaret Tudeau-Clayton, University of Neuchâtel (Suisse)
    “All of one communitie”: Shakespeare, Florio and the translation of Montaigne
  3. Indira Ghose, University of Fribourg (Suisse)
    Shakespeare, Civility, and Identity in Early Modern England
  4. Dympna Callaghan, Syracuse University (États-Unis)
    Shakespeare and the Culture of Resemblance

 

Horaire

Jeudi 24 avril 2014, 9h-10h30.

Salle : L109.

 

Plus d’infos

Pour lire les résumés, cliquer ici (en anglais).
 
 

Panel 9

Bakhtinian Forays into Shakespeare: Word, Gestures, Space
 

Organisateurs

Carla Dente, Martin Procházka, Pavel Drábek (Italie-République Tchèque-Royaume-Uni)
 

Participants

  1. Carla Dente, Université de Pise (Italie)
    Heteroglossia and Text Construction in the Framework of Political and Cultural Diversity: From Shakespeare’s Henry V to Greig’s Dunsinane
  2. Pavel Drábek, University of Hull (Royaume-Uni)
    Heteroglossic Subjects: the Dialogism of the Shakespearean Actor
  3. Martin Procházka, Charles University in Prague (République Tchèque)
    Chronotope and Heterotopia: Carnival Time and Grotesque Bodies in Twelfth Night and The Second Part of Henry IV

 

Horaire

Vendredi 25 avril 2014, 9h-10h30.

Salle : V106A.

 

Plus d’infos

Pour lire les résumés, cliquer ici (en anglais).
 
 

Panel 10

Shakespeare and Natural History
 

Organisateur

Christopher Leslie, Polytechnic School of Engineering at New York University (États-Unis)
 

Participants

Panel A

  1. Justin Kolb, American University in Cairo (Egypte)
    “The Dissolution of the Engine of this World”: The decay of nature and the Anthropocene in the history plays
  2. Felix Sprang, University of Hamburg (Allemagne)
    “What manner o’ thing is your crocodile?” Shakespeare’s Animals – a Class of Their Own.
  3. Martin Hyatt, Ph.D., independent scholar
    Shakespeare and Birds
  4. Jarosław Włodarczyk, Polish Academy of Sciences and Maria Curie-Skłodowska University, Lublin
    and Zuzanna Czerniak, Maria Curie-Skłodowska University, Lublin (Pologne)
    Astronomical Fragments in Shakespeare and Modern History of Astronomy

Panel B

  1. Christopher Leslie, Polytechnic School of Engineering at New York University (États-Unis)
    Specters of Unnatural History in Macbeth
  2. Marianne Kimura, Yamaguchi Prefectural College (Japon)
    Hamlet as a Cosmic Allegory about Solar Energy
  3. Shu-hua Chung, Tung Fang Design Institute (Taïwan)
    Nature in The Tempest
  4. Neslihan Ekmekçioğlu, Hacettepe University (Turquie)
    The Tempest in Prospero’s Mind and in Outer Space, Reflecting the Creative Imagination of the Artist and the Natural History of the Time

 

Horaire

Panel A: Samedi 26 avril, 9h-10h30.

Panel B: Samedi 26 avril, 11h-12h30.

Salle : V115/V116.

 

Plus d’infos

Pour lire les résumés, cliquer ici (en anglais).
 
 

Panel 11

’The Undiscovered Country – the Future’ – Shakespeare in Science Fiction
 

Organisateur

Simone Broders, Friedrich-Alexander-Universität Erlangen-Nürnberg (Allemagne)
 

Participants

  1. Simone Broders, Friedrich-Alexander-Universität Erlangen-Nürnberg (Allemagne)
    “TaH pagh, taHbe'” – Shakespearean Heritage in the Postmodern Space Opera
  2. Delilah Anne Bermudez Brataas, Sør-Trøndelag University College, Trondheim (Norvège)
    The Extraordinary Presence of Shakespeare and his Characters in Alan Moore’s League of Extraordinary Gentlemen
  3. Sujata Iyengar, University of Georgia (États-Unis)
    ‘Desdemona’s Voice’: The Shakespearean Past in Jeff Noon’s Vurt
  4. Jennifer Drouin, University of Alabama (États-Unis)
    Doctor Who‘s “The Shakespeare Code”, or Science Fiction as a new New Historicism

 

Horaire

Mercredi 23 avril, 16h-17h30.

Salle: Vendôme.

 

Plus d’infos

Pour lire les résumés, cliquer ici (en anglais).
 
 

Panel 12

Crossroads: 21st century perspectives on Shakespeare’s Classical Mythology
 

Organisateurs

Agnès Lafont, University of Montpellier – Institut d’Etudes sur la Renaissance, L’âge Classique et les Lumières, UMR 5186 (France)
and Atsuhiko Hirota, Kyoto University (Japan)
 

Participants

Chair : Yves Peyré, Université Paul Valéry, Montpellier (France)

  1. Charlotte Coffin, Université Paris Est Créteil Val de Marne (France)
    Where from and where to? Heywood’s appropriation of classical mythology in The Golden Age (1611)
  2. Tania Demetriou, University of York (Royaume-Uni)
    The Genre of Myth, or Myth without Ovid?
  3. Atsuhiko Hirota, University of Kyoto (Japon)
    Venetian Enchantresses and Egyptian Sorcery: Transformations of the Circean Myth in Othello
  4. Agnès Lafont, Université Paul Valéry, Montpellier (France)
    Ovidian emergences in Spenser’s Faery Queen: Britomart and Myrrha, an unexpected textual junction?
  5. Janice Valls-Russell, Université Paul Valéry, Montpellier (France)
    Constance and Arthur as Andromache and Astyanax? Trojan Shadows in Shakespeare’s King John

 

Horaire

Vendredi 25 avril 2014, 11h-12h30.

Salle : L106.

 

Plus d’infos

Pour lire les résumés, cliquer ici (en anglais).
 
 

Panel 13

Popular Shakespeares in East Asia: Local and Global Dissemination
 

Organisateurs

Yilin Chen et Ryuta Minami (Taïwan-Japon)
 

Participants


Session A: Theoretical Perspectives on Manga and Animation Shakespeares

Présidence: Ryuta Minami (Shirayuri College, Japon)

  1. Yilin Chen, Providence University (Taïwan)
    Frailty, Thy Name Is Woman”: A Striking Absence of Gertrude and Her Sexuality in the Taiwanese Graphic Novels of Hamlet
  2. Ma Yujin, University of London (Royaume-Uni)
    A Brief Study of the Readership of Chinese Shakespeare Manga
  3. Ryuta Minami, Shirayuri College (Japon)
    Global Dissemination of Fragments of Shakespeare in Japanese Anime (Animation Films)

Session B: Practitioners’ Perspectives on Shakespeares and Manga

Présidence: Yilin Chen, Providence University (Taïwan)

  1. Yukari Yoshihara, University of Tsukuba (Japon)
    Which is more global, manga or Shakespeare?
  2. Harumo Sanazaki, Artiste manga, Japan) (interprétation consécutive par Ryuta Minami)
    Creating Manga Shakespeare for Mature female Readers: a Sex-Positive Feminist’s Point of View
  3. Emma Hayley, Directrice de SelfMadeHero (Royaume-Uni)
    On SelfMadeHero’s Manga Shakespeare Series
  4. Sonia Leon, artiste de Manga (Royaume-Uni), créatrice de  Manga Shakespeare: Romeo and Juliet

 

Horaire

Panel A: Mercredi 23 avril, 9h-10h30.

Panel B: Jeudi 24 avril 2014, 9h-10h30.

Salle : Vendôme.

 

Plus d’infos

Pour lire les résumés, cliquer ici (en anglais).
 
 

Panel 14

Shakespeare and Levinas: Dialogue between a Playwright and a Philosopher
 

Organisateurs

Sean Lawrence et James Knapp (Canada-États-Unis)
 

Participants

Panel A: Shakespearean Levinas

  1. Bruce Young, Brigham Young University (États-Unis)
    Maternity, Substitution, and Transcendence: The Feminine in Shakespeare and Levinas
  2. Kent R. Lehnhof, Chapman University (États-Unis)
    Disincarnating God: Theology and Phenomenology in King Lear
  3. Sean Lawrence, University of British Columbia (Canada)
    The Peace of Empires and the Empire of Peace in Shakespeare and Levinas

Panel B: Levinasian Shakespeare

  1. David Goldstein, York University (Canada)
    Blindness and Welcome in King Lear
  2. James Kearney, University of California, Santa Barbara (États-Unis)
    Money, Sociality, Justice: The Levinasian Third and The Merchant of Venice
  3. James A. Knapp, Loyola University Chicago (États-Unis)
    Time and the Other in Shakespeare’s Cymbeline

 

Horaire

Panel A: Jeudi 24 avril 2014, 11h-12h30.

Panel B: Vendredi 25 avril 2014, 11h-12h30.

Salle : V106A.

 

Plus d’infos

Pour lire les résumés, cliquer ici (en anglais).
 
 

Panel 15

Celebrating Shakespeare: Commemoration and Cultural Memory
 

Organisateurs

Clara Calvo Universidad de Murcia (Espagne) et Coppélia Kahn, Brown University (États-Unis)
 

Participants

Panel A:

  1. Andrew Murphy, University of St. Andrews (Royaume-Uni)
    Radical Commemorations: 1864 Chartists and 1916 Rebels
  2. Monika Smialkowska, Northumbria University (Royaume-Uni)
    Reluctant Commemorators: Rudyard Kipling’s and Thomas Hardy’s Contributions to Israel Gollanz’s A Book of Homage to Shakespeare
  3. Nely Keinänen, University of Helsinki (Finlande)
    Commemoration as Nation-Building: The Case of Finland, 1916

Panel B:

  1. Richard Schoch, Queen’s University Belfast (Irlande)
    Genealogies of Shakespearean Acting
  2. Graham Holderness, University of Hertfordshire (Royaume-Uni)
    Remembrance of Things Past: 1851, 1951, 2012
  3. Nicola J. Watson, Open University (Royaume-Uni)
    Gardening with Shakespeare

 

Horaire

Panel A: Mercredi 23 avril, 9h-10h30.

Panel B: Mercredi 23 avril, 16h-17h30.

Salle : VV107.

 

Plus d’infos

Pour lire les résumés, cliquer ici (en anglais).
 
 

Panel 16

Shakespeare et l’architecture
 

Organisateurs

Roy Eriksen (Norvège)
 

Participants

  1. Michael Alijewicz, Queen’s University Belfast (Irlande)
    Birnam Wood Moves on the Stage: Reading Probability and Architecture in Macbeth
  2. Lois Leveen (États-Unis)
    Putting the ‘Where’ into ‘Wherefore Art Thou’: Urban Architectures of Desire in Romeo and Juliet
  3. Muriel Cunin, Université de Limoges (France)
    Shakespeare, Architecture and Privacy
  4. Melissa Auclair, University of Toronto (Canada)
    Coming into the Closet: Spatial Practices and Imagined Space in Shakespeare’s Plays

 

Horaire

Jeudi 24 avril 2014, 11h-12h30.

Salle : L109.

 

Plus d’infos

Pour lire les résumés, cliquer ici (en anglais).
 
 

Panel 17

Shakespeare and the Popular Culture within/Beyond the Asian Identities
 

Organisateur

Kang Kim, Honam University (Corée du Sud)
 

Participants

Panel A:

  1. Renfang Tang, University of Hull (Royaume-Uni)
    From Shakespeare’s Text to Chinese Stage: Performance-oriented Translation of Measure for Measure
  2. Pawit Mahasarinand, Chulalongkorn University (Thaïlande)
    Shakespeare in Contemporary Thailand: Macbeth in Thai Politics and Othello in Thai Premier League
  3. Thea Buckley, University of Birmingham (Royaume-Uni)
    Appropriating Shakespeare in South Asia: Cases of the Malayalam Films

Panel B:

  1. Yukari Yoshihara, University of Tsukuba (Japon)
    Transvestites in Shakespeare and Manga Adaptations of Shakespeare
  2. Kang Kim, Honam University (Corée du Sud)
    Graphic Shakespeare in Korea: From Literature to Pop Culture
  3. Lipika Das, IIIT Unitary University-Odisha (Inde)
    The Effects of Western impact on Odia literature through Shakespeare Translations

 

Horaire

Mardi 22 avril 2014, 11h-12h30.

Salle : V106B.

 

Plus d’infos

Pour lire les résumés, cliquer ici (en anglais).
 
 

Panel 18

«As you like it!», la psychanalyse à la rencontre de Shakespeare
 

Organisateur

Marthe Dubreuil (France)
 

Participants

  1. Philippe Adrien, metteur en scène (France)
  2. Marielle David, Pédopsychiatre psychanalyste (France)
    Roméo et Othello, «Objet ou sujet de la passion?»
  3. Marthe Dubreuil, Comédienne, metteur en scène, Psychologue clinicienne psychanalyste (France)
    Shakespeare, aux limites du genre
  4. Thémis Golégou, Psychologue clinicienne, Université Paris 7 (France)
    Ophélie, «le signe éternel» de la fin
  5. Christian Hoffmann, Professeur de psychopathologie et psychanalyste, Université Paris 7 (France)
    Le désir d’Hamlet
  6. Alain Vanier, Professeur de psychopathologie, Université Paris 7 (France)

 

Horaire

Jeudi 24 avril, 11h-12h30.

Salle : Vendôme.

 

Plus d’infos

Le panel propose une approche psychanalytique de certains des héros shakespeariens, à partir des concepts fondamentaux de la psychanalyse, de Freud à Lacan: Le complexe œdipien, deuil et mélancolie, désir et relation d’objet, fonction paternelle. Le metteur en scène Philippe Adrien complètera cette approche en racontant comment sa connaissance de la psychanalyse a pu, ou non, modifier son regard dans ses mises en scène de Shakespeare.
 
 

Panel 19

‘This Earth’
 

Organisatrice

Ruth Morse (France)
 

Participants

Présidence: Indira Ghose, Université de Fribourg (Suisse)

  1. Ruth Morse, Université Paris-Diderot (France)
    Earths
  2. Russ McDonald, Goldsmiths College, University of London (Royaume-Uni)
    Come Into the Garden, Bard
  3. David Schalkwyk, director of Global Shakespeare, Queen Mary University of London / University of Warwick (Royaume-Uni)
    Land and Freedom

 

Horaire

Vendredi 25 avril 2014, 11h-12h30.

Salle : V106B.

 

Plus d’infos

Pour lire les résumés, cliquer ici (en anglais).
 
 

Panel 20

Moving Shakespeare: Approaches in Choreographing Shakespeare
 

Organisateur

Marisa C. Hayes, Festival International de Vidéo Danse de Bourgogne (France/États-Unis)
 

Participants

  1. Sidia Fiorato, University of Verona (Italie)
    From Verbal to Visual Aesthetics: Remediating Shakespeare Through the Dancing Body
  2. Lorelle Browning, Pacific University (États-Unis)
    Adapting Shakespeare’s Rhythmic Structure to Movement
  3. Freya Vass-Rhee, PhD, University of Kent (Royaume-Uni)
    Hamlet and the Creation of William Forsythe’s Sider

 

Horaire

Mardi 22 avril 2014, 9h-10h30.

Salle : V115/V116.

 

Plus d’infos

Pour lire les résumés, cliquer ici (en anglais).
 
 

Panel 21

Diplomacy, International Relations and The Bard in the Pre- and Post-Westphalian Worlds
 

Organisatrice

Nathalie Rivere de Carles (France)
 

Participants

  1. Timothy Hampton,University of California at Berkeley (États-Unis)
    Delay, Deferral, and Interpretation in Renaissance Peacemaking
  2. Joanna Craigwood, Sidney Sussex College, Cambridge (Royaume-Uni)
    Diplomacy and King John
  3. Nathalie Rivere de Carles, Université Toulouse Le Mirail (France)
    Mutual disarmament and the politics of appeasement in Shakespearean drama

 

Horaire

Jeudi 24 avril 2014, 9h-10h30.

Salle à confirmer.

 

Plus d’infos

Pour lire les résumés, cliquer ici (en anglais).
 
 

Panel 22

Shakespeare and Marlowe
 

Organisatrice

Lisa Hopkins, Sheffield Hallam University (Royaume-Uni)
 

Participants

  1. Chloe Preedy, University of Exeter (Royaume-Uni)
    Fortune’s Breath: Rewriting the Classical Storm in Marlowe and Shakespeare
  2. Paul Frazer, Northumbria University (Royaume-Uni)
    Marlowe and Shakespeare Restaged: Influence, Appropriation, and ‘Mobility’ in Thomas Dekker’s Drama
  3. Roy Eriksen, University of Agder (Norvège)
    Working with Marlowe: Shakespeare’s Early Engagement with Marlowe’s Poetics

 

Horaire

Vendredi 25 avril 2014, 9h-10h30.

Salle : L106.

 

Plus d’infos

Pour lire les résumés, cliquer ici (en anglais).
 
 

Panel 23

Shakespeare, Satire and ‘Inn Jokes’
 

Organisatrice

Jackie Watson (Royaume-Uni)
 

Participants

  1. Simon Smith, Birkbeck College, London (Royaume-Uni)
    Robert Armin on Shakespeare: The Two Maids of More-Clacke
  2. Derek Dunne, Queen’s University, Belfast (Royaume-Uni)
    Serious Joking with Shakespeare’s Hamlet
  3. Jackie Watson, Birkbeck College, London (Royaume-Uni)
    Satirical expectations: Shakespeare’s Inns of Court audiences

 

Horaire

Samedi 26 avril, 9h-10h30.

Salle : V106A.

 

Plus d’infos

Pour lire les résumés, cliquer ici (en anglais).
 
 

Panel 24

Shakespeare’s World in 1916
 

Organisateur

Gordon McMullan, King’s College London (Royaume-Uni)
 

Participants

  1. Clara Calvo, University of Murcia (Espagne)
    Shakespeare and the Red Cross: The 1916 Grafton Galleries Exhibition
  2. Ailsa Grant Ferguson, King’s College London (Royaume-Uni)
    “Under strange conditions”: Shakespeare at the Front
  3. Philip Mead, University of Western (Australie)
    Antipodal Shakespeare
  4. Gordon McMullan, King’s College London (Royaume-Uni)
    Goblin’s Market: Commemorative Entrepreneurship and the Invention of “Global” Shakespeare in 1916

 

Horaire

Mardi 22 avril 2014, 9h-10h30.

Salle : V106A.

 

Plus d’infos

Pour lire les résumés, cliquer ici (en anglais).
 
 

Panel 25

Shakespeare et les romans hispano-américains
 

Organisatrice

Cécile Brochard, Université de Nantes (France)
 

Participants

  1. Isabelle Colrat, Université Paris 3 Sorbonne Nouvelle (France)
    Mémoire et pouvoir chez Carlos Fuentes : l’héritage shakespearien
  2. Lydie Royer, Université de Reims Champagne Ardenne, URCA (France)
    Les mises en scènes dans Palais Distants d’Abilio Estévez, roman cubain du
    XXIe siècle
  3. Cécile Brochard, Université de Nantes (France)
    Shakespeare et les romans hispano-américains du pouvoir

 

Horaire

Samedi 26 avril, 11h-12h30.

Salle : V106B.

 

Plus d’infos

Pour lire les résumés, cliquer ici (en anglais).
 
 

Panel 26

Shakespeare in French Theory
 

Organisateur

Richard Wilson (Royaume-Uni)
 

Participants

  1. Howard Caygill, Professor of Modern European Philosophy à Kingston University (Royaume-Uni), auteur de Levinas and the Political (Londres: Routledge, 2002).
  2. Ken McMullen, Anniversary Professor of Film Studies à Kingston University (Royaume-Uni), réalisateur de Ghost Dance, un film tourné en 1983 sur Jacques Derrida.
  3. Martin McQuillan, Professor of Literary Theory and Cultural Analysis et Dean of the Faculty of Arts and Social Sciences à Kingston University (Royaume-Uni), auteur de The Politics of Deconstruction: Jacques Derrida and the Other of Philosophy (Londres: Pluto Press, 2007).
  4. Richard Wilson, Sir Peter Hall Professor of Shakespeare Studies à Kingston University (Royaume-Uni), auteur de Shakespeare in French Theory: King of Shadows (Londres: Routledge, 2007).
  5. Simon Morgan Worthan, Professor of Humanities à Kingston University (Royaume-Uni), co-Director of the London Graduate School, auteur de The Poetics of Sleep: from Aristotle to Nancy (Londres: Bloomsbury, 2014).

 

Horaire

Jeudi 24 avril 2014, 9h-10h30.

Salle : V106A.

 

Plus d’infos

Pour lire un descriptif, cliquer ici (en anglais).
 
 

Panel 27

Speaking ‘but in the figures and comparisons of it’? Figurative speech made literal in Shakespeare’s drama / page and stage
 

Organisateurs

Denis Lagae-Devoldère et Anne-Marie Miller-Blaise (France)

 

Participants

Président de séance et répondant: Denis Lagae-Devoldère, Université Paris-Sorbonne / Paris 4 (France)

  1. Rocco Coronato, University of Padua (Italie)
    Wafer-Cakes and Serpents: Melting the Symbol in Antony and Cleopatra
  2. John Gillies, University of Essex (Royaume-Uni)
    Calvinism as Tragedy in Othello
  3. Harry Newman, University of Kent (Royaume-Uni)
    ‘I spake but by a metaphor’ : The Material Culture of Metaphors in Shakespearean Drama
  4. Anne-Marie Miller-Blaise, Université Sorbonne Nouvelle / Paris 3 (France)
    Literal Vienna

 

Horaire

Mardi 22 avril 2014, 11h-12h30.

Salle : V115/V116.

 

Plus d’infos

Pour lire les résumés, cliquer ici (en anglais).
 
 

Panel 28

Shakespearean festivals and anniversaries in Cold War Europe 1947-1988
 

Organisatrices

Erica Sheen et Isabel Karremann (Royaume-Uni/Allemagne)
 

Participants

Répondants:

  1. Adam Piette, University of Sheffield (Royaume-Uni)
  2. Geoff Cubitt, University of York (Royaume-Uni)

Panélistes:

  1. Erica Sheen, University of York (Royaume-Uni)
    ‘Zu politisch’:  Berlin and the Elizabethan Festival, 1948
  2. Nicole Fayard, University of Leicester (Royaume-Uni)
    Shakespeare’s Theatre of War in 1960s France
  3. Keith Gregory, University of Murcia (Espagne)
    Coming out of the cold: the celebration of Shakespeare in Francoist Spain
  4. Isabel Karremann, University of Würzburg (Allemagne)
    Shakespeare in Cold War Germany: The Split of the German Shakespeare Society in 1964
  5. Krystyna Kujawinska Courtney, University of Łódź (Pologne)
    A Story of One Publication: Commemorating the Fourth Centenary of Shakespeare’s Birth in Poland
  6. Irene R. Makaryk, University of Ottawa (Canada)
    1964: Shakespeare in the USSR
  7. Veronika Schandl, Pázmány Péter Catholic University (Hongrie)
    ‘Memory holds a seat in this distracted globe’: Shakespeare productions in Hungary in 1976

 

Horaire

Panel A: Mardi 22 avril 2014, 11h-12h30.

Panel B: Mercredi 23 avril, 9h-10h30.

Salle : V106A.

 

Plus d’infos

Pour lire les résumés, cliquer ici (en anglais).
 
 

Panel 29

The ends and means of knowing in Shakespeare and his world
 

Organisateur

Subha Mukherji, University of Cambridge (Royaume-Uni)
 

Participants

  1. Lorna Hutson, University of St. Andrews (Royaume-Uni)
    Imaginary Work: Lucrece’s Circumstances
  2. Joe Moshenska, University of Cambridge (Royaume-Uni)
    King Lear, Awkwardness, and Intention: Tolstoy’s Diatribe Reconsidered
  3. Subha Mukherji, University of Cambridge (Royaume-Uni)
    ‘O she’s warm’: sense, assent and affective cognition in the early modern numinous

 

Horaire

Samedi 26 avril, 11h-12h30.

Salle : V106A.

 

Plus d’infos

Pour lire les résumés, cliquer ici (en anglais).
 
 

Panel 30

Shakespeare et le roman
 

Organisatrice

Marie Dollé, CERR/CERCLL, Université de Picardie Jules Verne (France)
 

Participants

  1. Camille Guyon-Lecoq, Université de Picardie Jules Verne (France)
    Mourir sur le théâtre, de Quinault à Voltaire : motif “romanesque” ou trace d’un modèle shakespearien inavoué ?
  2. Audrey Faulot, Université de Picardie Jules Verne (France)
    Cleveland au miroir d’Hamlet : le spectre et l’identité, de la scène tragique à la narration romanesque
  3. Isabelle Hautbout, Université de Picardie Jules Verne (France)
    Shakespeare dans les épigraphes du roman français au début du XIXe siècle
  4. Marie Dollé, Université de Picardie Jules Verne (France)
    Segalen et Shakespeare : le secret d’Hamlet

 

Horaire

Samedi 26 avril, 9h-10h30.

Salle : V106B.

 

Plus d’infos

Pour lire les résumés, cliquer ici.
 
 

Panel 31

Translations of Hamlet in Minority Cultures/Minor Languages
 

Organisatrice

Márta Minier, University of South Wales (Royaume-Uni)
 

Participants

  1. Martin S. Regal, University of Iceland (Icelande)
    Hamlet in Icelandic
  2. Lily Kahn, University College London (Royaume-Uni)
    Domesticating Techniques in the First Hebrew Translation of Hamlet
  3. Roger Owen, Aberystwyth University (Royaume-Uni)
    On the Welsh Translations of Hamlet
  4. Nely Keinänen, University of Helsinki (Finlande)
    Language-building and nation-building: the reception of Paavo Cajander’s translation of Hamlet, 1879

 

Horaire

Mercredi 23 avril, 16h-17h30.

Salle : V106A.

 

Plus d’infos

Pour lire les résumés, cliquer ici (en anglais).
 
 

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Seminars

Seminar 1

Shakespeare on Screen: The Romances
 

Leaders

Sarah Hatchuel
GRIC, University of Le Havre, Sarah.Hatchuel@univ-lehavre.fr

Nathalie Vienne-Guerrin
IRCL, University Paul-Valéry Montpellier 3, Nathalie.Vienne-Guerrin@univ-montp3.fr

 

Participants

  1. Delilah Bermudez Brataas, Sør-Trøndelag University College (Norway)
    “Most Majestic” or “Baseless Fabric”: The Alternating Utopic (re)Visions of The Tempest
  2. Victoria Bladen, The University of Queensland (Australia)
    Screen Magic in Peter Greenaway’s Prospero’s Books (1991) and Julie Taymor’s The Tempest (2010)
  3. Anne-Marie Cornède, Université Paris Descartes (France)
    Prospero, Ariel, Caliban: Master and Servants or Power at Stake in Tempest on Screen
  4. Sam Crowl, Ohio University (USA)
    Transformation and Adaptation in Julie Taymor’s The Tempest
  5. Jacek Fabiszak, Adam Mickiewicz University in Poznań (Poland)
    Shakespeare’s romances on Polish television: from theatre in/on television to a television show, from bookish Bard to subversive Shakespeare
  6. Kinga Földváry, Pázmány Péter Catholic University (Hungary)
    Ghost Towns and Alien Planets: Variations on Prospero’s Island in Screen Versions of The Tempest
  7. Gaëlle Ginestet, Université Paul-Valéry Montpellier 3, IRCL (France)
    The Tempest in Le Bal du Comte d’Orgel (1970) by Marc Allégret: Shakespeare Grafted onto Radiguet
  8. Russell Jackson, University of Birmingham (UK)
    Home and Colonial: the Tempest films of Jarman, Taymor and Mazursky
  9. Randy Laist, Goodwin College (USA)
    Hyperreality and the Western Imagination in Prospero’s Books
  10. Courtney Lehmann, University of the Pacific (USA)
    A Fine Romance: Prospera and the Work of Art in the Age of Biocybernetic Reproduction
  11. Maddalena Pennacchia, Roma Tre University (Italy)
    Puppetry on Screen: The Tempest and The Winter’s Tale in The Animated Tales from Shakespeare
  12. Lindsay Reid, the National University of Ireland, Galway (Ireland)
    “This Fierce Abridgement”: Thanhouser’s Two-Reel Cymbeline (1913) and the Question of Genre
  13. Edel Semple, University College Cork (Ireland)
    Looking at Good Daughters and Bad Mothers: Women in the BBC Shakespeare Series’ Pericles
  14. Peter J. Smith, University of Nottingham Trent (UK)
    “Something Rich and Strange”: Jarman and Greenaway and the defamiliarisation of The Tempest
  15. Bob White, University of Western Australia (Australia)
    Elijah Moshinsky’s Television Cymbeline
  16. John Wyver, University of Westminster/Illuminations (UK)
    Scenes from Cymbeline and the language of the early television studio

 

Schedule

Friday 25 April 2014, 16h-18h.

Room: V106A.

 

More information

This seminar will discuss screen adaptations, screen appropriations or screen quotations of Shakespeare’s romances: Pericles, Cymbeline, The Winter’s Tale and The Tempest. The papers examine, among other aspects:

  • how the play is (textually, aesthetically, ideologically, etc.) transformed when directed for the screen;
  • what each version reveals about the (sometimes postcolonial) culture in which it is set;
  • how Shakespeare’s playscript (or plot) interacts with national ideologies and representations;
  • how the screen versions have been influenced and shaped by previous theatre productions;
  • how the gender and racial issues have been addressed;
  • how the magical aspects of the plays interrelate with the filmic medium;
  • how the issues of time and space are tackled by film directors;
  • how the Romances have influenced non-Shakespearean filmic works or how they have been quoted/appropriated/challenged in various films.

For abstracts, click here.

 
 

Seminar 2

Biology through Shakespeare
 

Leader

Rachel Rodman, Durham, NC (USA)
 

Participants

  1. Chiara Battisti, University of Verona (Italy)
    Richard III and disability studies
  2. Natalia Brzozowska, Adam Mickiewicz University (Poland)
    Merging the biological and the social – the relationship between age,‘choler’ and status in William Shakespeare’s King Lear and Romeo and Juliet
  3. John F. Maune, Hokusei Gakuen University (Japan)
    With Love’s Light Wings: Romeo and Juliet in a Life Science Classroom
  4. Nahid Mohammadi, Alzahra University (Iran)
    The Ecology of Human and Nonhuman Nature in Shakespeare: A Reading of Four Elements
  5. Rachel Rodman, Durham, NC (USA)
    Biology through Shakespeare
  6. Lauren Shohet, Villanova University (USA)
    Floral Networks
  7. Michael A. Winkelman, Owens Tech (USA)
    ‘To Preserve This Vessel’: Jealousy, Evolution, and Othello

 

Schedule

Thursday 24 April 2014, 15h30-17h30.

Room: V106B.

 

More information

For abstracts, click here.
 
 

Seminar 3

The Many Lives of William Shakespeare: Collaboration, Biography and Authorship
 

Leaders

Paola Pugliatti, University of Florence (Italy) and William Leahy, Brunel University London (UK)
 

Participants

  1. Christy Desmet, University of Georgia (USA)
    If the Style is the Man, Who Wrote Hamlet Q1?
  2. Jeffrey Kahan, University of La Verne (USA)
    “I tell you what mine author says”: A Brief History of Stylometrics
  3. William Lehay, Brunel University, London (UK)
    Shakespearean Biography: Too Much Information (but not about Shakespeare)
  4. John V. Nance, Florida State University (USA)
    Defining Co-authorship in Shakespeare’s Early Canon
  5. Donatella Pallotti, University of Florence (Italy)
    Issues of (Collaborative) Authorship in Shakespeare’s Poems
  6. Robert Sawyer, East Tennessee State University (USA)
    ‘Fabricated Lives’: Shakespearean Collaboration in Fictional Forms
  7. Gary Taylor, Florida State University (USA)
    Faking It: Imitating Shakespeare in Double Falsehood and Cardenio

 

Schedule

Tuesday 22 April 2014, 15h30-17h30.

Room: V106A.

 

More information

For abstracts, click here.
 
 

Seminar 4

Early Shakespeare
 

Leaders

Rory Loughnane and Andrew J. Power (USA)
 

Participants

  1. Terri Bourus, Indiana University-Purdue University Indianapolis (USA)
    Shakespeare’s Early Hamlet
  2. Rob Carson, Hobart and William Smith Colleges (USA)
    Shakespeare and the Queen’s Men
  3. Fran X. Connor, Wichita State University (USA)
    Richard Field and Venus and Adonis
  4. Hugh Craig, University of Newcastle (Australia)
    Cliques, networks and nodes: affinity and distinctiveness in early Shakespeare
  5. Gabriel Egan, De Montfort University (UK)
    The Date and Authorship of The Two Gentlemen of Verona
  6. MacDonald Jackson, University of Auckland (New Zealand)
    Arden of Faversham and Shakespeare’s Early Collaborations
  7. John Jowett, Shakespeare Institute (UK)
    Reconstruction or Collaboration: The Case of Richard Duke of York
  8. Andy Kesson, University of Kent (UK)
    Early Shakespeare and the first generation of commercial theatre
  9. Rory Loughnane, Indiana University-Purdue University Indianapolis (USA)
    Early Shakespeare, Late Peele
  10. Anna Pruitt, Indiana University-Purdue University Indianapolis (USA)
    The question of authorship and chronology in Act IV Scene 1 of Titus Andronicus
  11. Peter Sillitoe, De Montfort University (UK)
    Locating the Henry VI Plays: Spatial Dynamics in Early Shakespeare
  12. Will Sharpe, Shakespeare Institute (UK)
    Shakespeare’s Habits as a Collaborative Author
  13. Holger Schott Syme, University of Toronto (Canada)
    Whose Shakespeare?
  14. Gary Taylor, Florida State University (USA)
    The Fly Scene in Titus

 

Schedule

Friday 25 April 2014, 16h-18h.

Room: Vendôme.

 

More information

For abstracts, click here.
 
 

Seminar 5

Shakespeare and the Visual Arts
 

Leader

Michele Marrapodi, University of Palermo (Italy)
 

Participants

  1. Susan L. Fischer, Bucknell University (USA)
    Ekphrastic Criticism in Practice: Making the (Reader) “See” Shakespeare-in-Performance
  2. Elizabeth Howie and Dr. Tripthi Pillai, Coastal Carolina University (USA)
    “So Full of Shapes is Fancy”: Photogenic Time and Space in Twelfth Night
  3. José Manuel González, University of Alicante (Spain)
    Painting and Representing Gender in the Drama of Early Modern England and Spain
  4. Michele De Benedictis, University of Cassino (Italy)
    The substantial pageant of majestic vision: Shakespeare, Stuart Masques, and the Theatrical Paragone of Arts
  5. Stephen Guy-Bray, University of British Columbia (USA)
    Deceiving Art in Venus and Adonis
  6. Peter Latka, University of Toronto (Canada)
    “All Adonises must die”: Shakespeare, Titian, and Elizabethan Visual Culture
  7. Armelle Sabatier, University of Paris II Panthéon-Assas (France)
    Roses and Blood: Depicting and Visualising Red in Shakespeare’s The Rape of Lucrece
  8. Laura Beattie, Freie Universitaet Berlin (Germany)
    “I understand her signs”: Ekphrasis and the Male Gaze in The Rape of Lucrece and Titus Andronicus
  9. Camilla Caporicci, University of Perugia (Italy)
    “Your painted counterfeit”: Drawing Portraits and Writing Sonnets
  10. Keir Elam, University of Bologna (Italy)
    “Wanton pictures”: The Baffling of Christopher Sly and the Visual-Verbal Intercourse of Early Modern Erotic Art
  11. François-Xavier Gleyzon, University of Central Florida (USA)
    Opening the Sacred Body: Shakespeare and Uccello
  12. Neslihan Ekmekçioğlu, Hacettepe University (Turkey)
    Ekphrasis in Shakespeare’s Two Scenes of Drowning: Ophelia and Clarence’s Dream
  13. Julia Cleave, Member of the Academic Board of the Temenos Academy (UK)
    “Well-painted passion”: Shakespeare and the Bassano Fresco
  14. Guillaume Mauger, Paris IV-Sorbonne (France)
    “I have drawn her picture with my voice”: Desiring Gaze and Perspective Tricks in Shakespeare’s Rhetorical Portraits
  15. Hanna Scolnicov, Tel-Aviv University (Israel)
    Both Goddess and Woman: Cleopatra and Venus
  16. Olivia Coulomb, Aix-Marseille Université (France)
    Shakespeare’s Octavia and Cleopatra: between Stasis and Movement
  17. Michele Marrapodi, University of Palermo (Italy)
    “Pencill’d pensiveness and colour’d sorrow”: Visual Representation and Ekphrastic Tension in Othello, Cymbeline, and Lucrece
  18. Muriel Cunin, Université de Limoges (France)
    “Those foundations which I build upon”: Construction and Misconstruction in The Winter’s Tale
  19. Maria Del Sapio Garbero, Roma Tre University (Italy)
    Maternity and the Visual Arts in Shakespeare’s Romances
  20. Giuseppe Leone, Università di Palermo (Italy)
    “Hath Death lain with thy wife”: Eroticized Death Iconography in Shakespeare

 

Schedule

Saturday 26 April 2014, 15h-18h.

Room: ENS, salle des Actes.

 

More information

For abstracts, click here.
 
 

Seminar 6

Global Shakespeare as Methodology
 

Leaders

Ema Vyroubalova, Trinity College Dublin (Ireland), Elizabeth Pentland, York University (Canada), and Alexa Huang, George Washington University (USA)
 

Participants

Discussant:

David Schalkwyk, Global Shakespeare Centre, Queen Mary University of London and University of Warwick (UK)

Participants in alphabetical order:

  1. Anston Bosman, Amherst College (USA)
    Aside Effects
  2. Mariacristina Cavecchi, University of Milan (Italy)
    Tagging the Bard. Shakespeare and Graffiti
  3. Tom Cheesman, Swansea University (UK)
    The ”Global” Shakespeare Translation Space
  4. Brian Culver, New York University (USA)
    “[B]anish plump Jack, and banish all the world”: Global Studies and Shakespeare’s History Plays
  5. Eric Johnson, Folger Shakespeare Library (USA)
    BardMetrics: Measuring the Global Shakespeare Marketplace
  6. Yvette Khoury, Independent Scholar (UK)
    The ‘Customised’ Model of Aterlife Draws On
  7. Aneta Mancewicz, University of Bedfordshire (UK)
    Global and Local Dialectics in Jan Klata’s Titus Andronicus (Wroclaw & Dresden 2012)
  8. Martin Orkin, University of Haifa (Israel)
    Troilus and Cressida: Shakespeare, the National Theatre and the RSC as ‘global’?
  9. Ronan Paterson, Teesside University (UK)
    “Cleave not to their mould”: Transformations of Macbeth
  10. Elizabeth Pentland, York University (Canada)
    Hujjat: Figuring the Global and the Local in Student Appropriations of Shakespeare
  11. Aleksandra (Ola) Sakowska, King’s College London (UK)
    ‘Liquid Shakespeare’: Theorising global and local performance from a sociological perspective
  12. Mariangela Tempera, University of Ferrara (Italy)
    Global Shakespeare in Tatters: Analyzing Fragments from His Works in World Cinema
  13. Ema Vyroubalova, Trinity College Dublin (Ireland)
    Methods behind Designing Global Shakespeare Courses

 

Schedule

Tuesday 22 April 2014, 15h30-17h30.

Room: Vendôme.

 

More information

For abstracts, click here.
 
 

Seminar 7

‘In this distracted globe’?: Cognitive Shakespeare
 

Leaders

Anja Müller-Wood and Sibylle Baumbach (Germany)
 

Participants

  1. Elisa Bertinato, Tor Vergata University, Rome (Italy)
    Interpreting space, movement and power in Measure for Measure
  2. Michael Booth, Brandeis University/Harvard University (USA)
    Shakespeare, Stories and Conceptual Blending
  3. Joachim Frenk, Universität des Saarlandes (Germany)
    Falstaff’s Self-Serving Rhetoric
  4. N.R. Helms, University of Alabama, Tuscaloosa (USA)
    Collaborative Cognition: Communicating with Madness in The Two Noble Kinsmen
  5. Lalita Pandit Hogan, University of Wisconsin-La Crosse (USA)
    “… breaking of so great a thing should make a greater crack”: Cognitive Unconscious, Rasa, and Shakespeare’s Antony and Cleopatra
  6. Patrick Colm Hogan, University of Connecticut (USA)
    My Othello Problem: Cognition and Aesthetic Response
  7. Raphael Lyne, University of Cambridge (UK)
    Shakespeare and Social Cognition
  8. Felix Sprang, Universität Hamburg (Germany)
    “Where think’st thou he is now?” The Extension of Rhetoric into Cognition in Shakespeare’s Antony & Cleopatra

 

Schedule

Thursday 24 April 2014, 15h30-17h30.

Room: V106A.

 

More information

For abstracts, click here.
 
 

Seminar 8

La fabrique du personnage shakespearien
 

Leader

Delphine Lemonnier-Texier, Université Rennes 2, Isabelle Schwartz-Gastine, Université de Caen, and Estelle Rivier, U. du Maine (France)
 

Participants

  1. Miguel Borras, founder of Théâtre du Bout du Monde (France)
  2. Adel Hakim, director of Théâtre des Quartiers d’Ivry (France)
  3. Thomas Jolly, artistic director of La Piccola Familia (France)
  4. Abigail Rokison, University of Birmingham (UK)

 

Schedule

Friday 25 April 2014, 16h-18h.

Room: V106B.

 

More information

For biographies of the participants, click here (in French).
 
 

Seminar 9

Legal Perspectives on Shakespearean Theatre
 

Leaders

Daniela Carpi and J. Gaakeer (Italy-Netherlands)
 

Participants

  1. Helen Vella Bonavita, Edith Cowan University, Western Australia (Australia)
    Stand up for Bastards: Legitimacy and Illegitimacy in Shakespeare’s plays
  2. Francois Ost, Université Saint-Louis, Bruxelles (Belgium)
    Weak kings and perverted symbolism. How Shakespeare treats the doctrine of the King’s two bodies
  3. Carolyn Sale, University of Alberta (Canada)
    Shakespeare’s Common Law: Hamlet and Conscience
  4. Gary Watt, University of Warwick (UK)
    No Play Without Will
  5. Andrew Majeske, University of California Davis (USA)
    Dying declarations, feigned deaths, and dramatic rebirths in Shakespeare’s Rape of Lucrece, Othello, and The Winter’s Tale

 

Schedule

Wednesday 23 April 2014, 11h-13h.

Room: Vendôme.

 

More information

For abstracts, click here.
 
 

Seminar 10

Shakespeare and Slavic / East and Central European Countries
 

Leaders

Michelle Assay, Universities of Paris-Sorbonne (France) and Sheffield (UK), and David Fanning, University of Manchester (UK)
 

Participants

  1. Michelle Assay, Université Paris-Sorbonne (France) and University of Sheffield (UK)
    Akimov and Shostakovich’s Hamlet: a Soviet ‘Shakesperiment’
  2. Zorica Bečanović-Nikolić, University of Belgrade (Serbia)
    Shakespeare’s Tercentenary in Serbian Poetry
  3. Chris Berchild, Indiana State University (USA)
    Designing the Bohemian Coast: Twentieth Century Czech Appropriations of Shakespearean Space and Place
  4. Frank W. Brevik, Savannah State University (USA)
    East European Shakespeare Pre- and Post-1989: A Formalist Presentism?
  5. Jana Bžochová-Wild, Academy of Performing Arts Bratislava (Slovakia)
    Tracking (Foot)prints of Shakespeare in Slovak
  6. Anna Cetera, University of Warsaw (Poland)
    I see it in my motion, have it not in my tongue: The Slavic Sounds of Shakespeare
  7. Refik Kadija, “Luigi Gurkauqi” University of Shkodër (Albania)
    History of Shakespeare’s Translations into Albanian and the Stage Production of Shakespeare’s Plays in Albania
  8. Natalia Khomenko, York University (Canada)
    Seeing Double: Cultural Appropriation and Shakespearean Characters in the Soviet Novel
  9. Jiri Kopecky, Palacký University Olomouc (Czech Republic)
    William Shakespeare and Czech National Music
  10. Gabriela Łazarkiewicz, University of Warsaw (Poland)
    Shoah and The Tempest in Poland: The Productions of 1938 (dir. Leon Schiller) and of 2003 (dir. Krzysztof Warlikowski)
  11. Ivona Mišterová, University of West Bohemia in Pilsen (Czech Republic)
    “Hurry, hurry and love, what thou shall not see twice”: The Shakespeare Festival at the National Theatre in Prague in 1916
  12. Madalina Nicolaescu, University of Bucharest (Romania)
    Shakespeare Studies in Socialist Romania
  13. Alexandra Portmann, University of Berne (Switzerland)
    Who is Fortinbras after the siege of Dubrovnik? Staging Shakespeare’s Hamlet at the Dubrovnik Summer Festival in 1994
  14. Irina Prikhodko, Russian Academy of Sciences, Moscow (Russia)
    Russian translations of Shakespeare’s Sonnets
  15. Gabriella Reuss, Pázmány Péter Catholic University (Hungary)
    Appropriations of Shakespeare in 1838: Experimenting with the tragic and the pathetic in England and Hungary
  16. Andrzej Wicher, University of Łódź (Poland)
    Wawel meets Elsinore. The National and Universal Aspects of Stanisław Wyspiański’s Vision of Shakespeare’s Hamlet
  17. Oana-Alis Zaharia, “Dimitrie Cantemir” University of Bucharest (Romania)
    “Tomorrow, and tomorrow, and tomorrow…” Nineteenth-Century Romanian Macbeth(s)

 

Schedule

Saturday 26 April 2014, 15h-17h.

Room: V106A.

 

More information

For abstracts, click here.
 
 

Seminar 11

“It’s Shakespearian!”: The critical fortune of a commonplace in France from 1820 to the present
 

Leaders

Gisèle Venet and Line Cottegnies (France)
 

Participants

  1. Sylvaine Bataille, Université de Rouen (France)
    Quand les séries américaines sont « shakespeariennes » : le cliché à l’épreuve de la production télévisuelle contemporaine
  2. Christine Sukic, Université de Reims (France)
    « Il est Shakespeare ! »
  3. Gabriel Louis Moyal, McMaster University, Hamilton (Canada)
    Traduire l’Angleterre : Le Shakespeare de François Guizot
  4. Emilie Ortiga, Université du Havre (France)
    The Presence of Shakespeare in Balzac’s La Cousine Bette
  5. Florence Krésine, Université Sorbonne Nouvelle – Paris 3 (France)
    Shakespeare-Gautier : trait d’union ou trait de génie ?
  6. Frédéric Picco, Lycée Camille Jullian à Bordeaux (France)
    Les Contes cruels, ou quand le conte devient le lieu shakespearien
  7. Ladan Niayesh, Université Paris Diderot – Paris 7 (France)
    Bellini’s I Capuleti e i Montecchi and Berlioz’s ‘Shakespeare’

 

Schedule

Saturday 26 April 2014, 15h-17h.

Room: ENS, salle des Résistants.

 

More information

For abstracts, click here.
 
 

Seminar 12

‘Green’ or Ecocritical Shakespeare: non- human nature as a character in his plays
 

Leader

Malvina Isabel Aparicio (Argentina)
 

Participants

  1. Sharon O’Dair, University of Alabama Tuscaloosa (USA)
    “Water’s Violent Love”
  2. Anna Kowalcze-Pawlik, Jagiellonian University (Poland)
    “Map of Woe”: The Topography of Female Body in Titus Andronicus
  3. Joseph Campana, Rice University (USA)
    The Bee and the Sovereign: Segments, Swarms, and the Early Modern Multitude in Coriolanus
  4. Viktoriia Marinesko, Classic Private University, Zaporizhzhia (Ukraine)
    “The Something that Nature Gave Me”: the Role of Nature in Shaping the Genius through the Prism of Shakespeare’s Biographies
  5. Malvina Aparicio, Argentine Catholic University / University of the Salvador (Argentina)
    The Non-Human as a Character in Macbeth
  6. Simon C. Estok, Sungkyunkwan University (South Korea)
    Ecocriticism and Timon of Athens
  7. David Morrow, College of Saint Rose (USA)
    Shakespeare before the Metabolic Rift: Land, Labor and Ecocriticism
  8. Doyle Ott, Sonoma State University (USA)
    Putting a Tempest in a Teapot: Physicalizing the Storm in Shakespearean Performance

 

Schedule

Wednesday 23 April 2014, 11h-13h.

Room: V106B.

 

More information

For abstracts, click here.
 
 

Seminar 13

The Shakespeare Circle
 

Leaders

Stanley Wells and Paul Edmondson, Shakespeare Birthplace Trust (UK)
 

Participants

  1. John Astington, University of Toronto (Canada)
    Theatre Friends: The Burbages
  2. Susan Brock, University of Warwick (UK)
    Shakespeare’s Neighbours and Beneficiaries
  3. Paul Edmondson, The Shakespeare Birthplace Trust (UK)
    Actors and Editors John Heminges and Henry Condell
  4. David Fallow, Independent Scholar (UK)
    His father John Shakespeare
  5. Graham Holderness, University of Hertfordshire (UK)
    His son, Hamnet Shakespeare
  6. Andrew Kesson, University of Roehampton (UK)
    Fellow Dramatists and Early Collaborators Henry Chettle, Robert Greene, John Lyly, Christopher Marlowe, Thomas Nashe, George Peele
  7. Alan Nelson, University of California, Berkeley (USA)
    His literary patrons the Right Honourable Henry Wriothesley, 3rd Earl of Southampton and Sir John Salusbury
  8. Duncan Salkeld, University of Chichester (UK)
    Collaborator George Wilkins
  9. Bart Van Es, St Catherine’s College, Oxford (UK)
    Fellow Actors Will Kemp, Augustine Phillips, Robert Armin and other members of the Lord Chamberlain’s Men and King’s Men
  10. Greg Wells, University of Warwick (UK)
    Son-in-law John Hall
  11. Catherine Shrank, University of Sheffield (UK)
    His sister’s family: The Harts
  12. Stanley Wells, The Shakespeare Birthplace Trust (UK)
    A close family connection: The Combes

 

Schedule

Wednesday 23 April 2014, 11h-13h.

Room: V107.

 

More information

Most biographies of Shakespeare drive a direct trajectory from his birth to his death, taking note of his relatives, friends, and colleagues only in so far as what is already known about them impinges directly on his life. Yet many of these people are both relatively under-investigated and of interest in their own right. Moreover fresh study of their life stories may well cast both oblique and direct illumination on Shakespeare’s life and on the social and intellectual environment that he inhabited. In the light of this belief we are editing a collection of essays for Cambridge University Press called The Shakespeare Circle: An Alternative Biography due to be published in 2016. Some of our contributors are able to take part in this seminar to try out their ideas and discuss their work so far.
 
 

Seminar 14

‘Many straunge and horrible events’ – Omens and Prophecies in Histories and Tragedies by Shakespeare and His Contemporaries
 

Leaders

Imke Lichterfeld, Universität Bonn (Germany), and Yan Brailowsky, Université Paris Ouest Nanterre La Défense (France)
 

Participants

  1. Justin Kolb, American University in Cairo (Egypt)
    “The Dissolution of the Engine of this World”: History and the Decay of Nature in History
  2. Lee Rooney, University of Liverpool (UK)
    ‘A prophet to the fall of all our foes!’: Joan la Pucelle, prophecy, and the challenging of history in 1 Henry VI
  3. Jessica Malay, University of Huddersfield (UK)
    Opposing interpretations of sibylline dynastic prophecy in Shakespeare’s Macbeth and Fletcher’s The Prophetess
  4. Craig Bourne, University of Hertfordshire (UK), and Emily Caddick Bourne, University of Cambridge / University of London (UK)
    Prophecy and misunderstanding in Macbeth
  5. Per Sivefors, Linnaeus University (Sweden)
    Prophecies, dreams and epistemological change in early modern drama
  6. Oriane Littardi, Université Sorbonne Nouvelle – Paris 3 (France)
    “What are you?”: Identifying Anonymous Prophets in Shakespeare’s Tragedies and Histories
  7. Jordi Coral, Universitat Autònoma de Barcelona (Spain)
    “Can Curses Pierce the Clouds and Enter Heaven?”: Prophecy and Imprecation in Richard III
  8. Kristin M. Distel, Ashland University (USA)
    “By the pricking of my thumbs”: Corporeal Omens in Shakespeare’s Tragedies
  9. Nathalie Borrelli, Université de Namur (Belgium)
    Shakespeare’s Prophesying Witches
  10. Patricia Harris Stablein Gillies, University of Essex (UK)
    The Crowned Eye: Visual Space and Prophecy in 1 Henry VI

 

Schedule

Saturday 26 April 2014, 15h-17h.

Room: Vendôme.

 

More information

For abstracts, click here.
 
 

Seminar 15

Shakespeare in French Film/France in Shakespearean Film
 

Leaders

Melissa Croteau, California Baptist University (USA) and Douglas Lanier, University of New Hampshire (USA)
 

Participants

  1. Mário Vítor Bastos, University of Lisbon (Portugal)
    Shakespeare and the Poetics of French Film in the early 1960s: Ophélia by Claude Chabrol
  2. Stephen M. Buhler, University of Nebraska-Lincoln (USA)
    “You may go so far”: Branagh, Depardieu, Reynaldo
  3. Maurizio Calbi, University of Salerno (Italy)
    Exilic / Idyllic Shakespeare: Reiterating Pericles in Jacques Rivette’s Paris nous appartient
  4. Melissa Croteau, California Baptist University (USA)
    “I am not what I am”: Othello and Role-playing in Le Enfants du Paradis
  5. Patricia Dorval, Université Paul Valéry, Montpellier III (France)
    Macbeth in André Barsacq’s Crimson Curtain (1952): Mise en Abyme and Transgression
  6. Anthony Guneratne, Florida Atlantic University (USA)
    A Certain Tendence in Post-New Wave Shakespearean Cinema: From Early Truffaut to Late Godard via Orson Welles
  7. Douglas Lanier, University of New Hampshire (USA)
    The Real and the Fake: Shakespeare, Cinema, Authenticity, and Post-War Europe in André Cayatte’s Les Amants de Vérone

 

Schedule

Wednesday 23 April 2014, 11h-13h.

Room: V106A.

 

More information

For abstracts, click here.
 
 

Seminar 16

The Celebrated Shakespeare: public commemoration and biography
 

Leader

Michael Dobson, Shakespeare Institute, University of Birmingham (UK)
 

Participants

  1. Rui Carvalho Homem, Universidad do Porto (Portugal)
    Secular Saints : Shakespeare in the Camões Tricentenary (1880)
  2. Anna Khrabrova, Ukrainian Shakespeare Centre, Classic Private University, Zaporizhzhia (Ukraine)
    “Your changed complexions are to me a mirror which shows me mine changed too”: Shakespeare visualization and monumentalization
  3. Robert McHenry, University of Hawaii (USA)
    John Dryden’s Shakespeare: Before Shakespearean Biography
  4. Karen Newman, Brown University (USA)
    Shakespeare celebrated in Paris, 1827
  5. Gabriella Reuss, Pázmány Péter Catholic University (Hungary)
    The Blemishes of the Repertoire: Translation as Celebration. The Shakespeare Cult in Nineteenth Century Hungary
  6. Francisco Fuentes Rubio, University of Murcia (Spain)
    Mickey Mouse Shakespeare: An apparently conservative postal walk through Stratford
  7. Codruta Mirela Stănişoară, University of Craiova (Romania), and Emil Sîrbulescu, University of Craiova (Romania)
    From Global to Local and back to Global: a case-study in Shakespeare’s Romanian after-life
  8. Nataliya Torkut, Ukrainian Shakespeare Centre, Classic Private University, Zaporizhzhia (Ukraine)
    “…By the image of my cause, I see the portraiture of his”: public commemoration of Shakespeare in the Soviet Ukraine
  9. Noemi Vera, University of Murcia (Spain)
    Celebrating the man: Spanish biographies of Shakespeare in the tercentenary of his death
  10. Shuhua Wang, National I-Lan University (Taiwan)
    The ‘Shakespeare Renaissance’ and the Rise of China

 

Schedule

Tuesday 22 April 2014, 15h30-17h30.

Room: ENS, salle Dussane.

 

More information

For abstracts, click here.
 
 

Seminar 17

‘Seeing As’: Shakespeare and Denotement
 

Leader

Michael Hattaway, New York University in London (UK)
 

Participants

  1. Letitia Goia, Babes-Bolyai University, Cluj Napoca (Romania)
    The Enhancement Of Shakespeare’s Sacred in Verdi’s Adaptation of Othello
  2. Claire Guéron, Université de Bourgogne (France)
    ‘I would [..] / Have turned mine eye’ (Cymbeline, 1.3.17-22): Shifting to the Mind’s Eye in Shakespeare’s Late Plays
  3. Eric Harber, Independent Scholar (UK)
    Ambivalence: fire and mud in Othello
  4. John Langdon, Shakespeare Institute (UK)
    Death in Midsummer: the Ritual Death of Pyramus and Thisbe in A Midsummer Night’s Dream
  5. Emilio Méndez, Universidad Nacional Autónoma de México (Mexico)
    ‘Behold the meaning’:  Denotements through the Sonnets of Love’s Labour’s Lost and All’s Well That Ends Well
  6. Nick Moschovakis, Independent scholar (USA)
    Denoting and Reminding: Action, Allusion, and Identity in Shakespeare
  7. Patricia Parker, Stanford University (USA)
    (De)noting and Slander
  8. Kiernan Ryan, Royal Holloway, University of London (UK)
    ‘Prosper on the top (invisible)’: Power and Perception in Shakespeare
  9. Ewa Sawicka, Warsaw University (Poland)
    Self-mystification in William Shakespeare’s As You Like It, Macbeth, and Cymbeline

 

Schedule

Friday 25 April 2014, 16h-18h.

Room: L106.

 

More information

For abstracts, click here.
 
 

Seminar 18

Shakespeare, Middleton and the fatherless lineage
 

Leaders

Rosy Colombo, University of Rome “Sapienza” (Italy), and Daniela Guardamagna, University of Rome “Tor ergata”(Italy)
 

Participants

  1. Francesca Brancolini, University of Rome “Tor Vergata” (Italy)
    Was It Shakespeare Who Revised Locrine? A Question of Authorship
  2. Rosy Colombo Smith, “Sapienza” University of Rome (Italy)
    Origin Displaced
  3. Tommaso Continisio, University of Rome “Tor Vergata” (Italy)
    Shakespeare’s Hand in Mucedorus: Did the Bard Write the Additional Scenes?
  4. Daniela Guardamagna, University of Rome “Tor Vergata” (Italy)
    Middleton beyond the Canon
  5. Roger Holdsworth, University of Manchester (UK)
    Timon of Athens as a Middleton Play
  6. Lucia Nigri, University of Salford (UK)
    Authorial and non-authorial links in The Lady’s Tragedy
  7. Giuliano Pascucci, “Sapienza” University of Rome (Italy)
    Not All is Lost. Cardenio, Double Falsehood and music
  8. Rossana M. Sebellin, University of Rome “Tor Vergata” (Italy)
    Imagery in Thomas of Woodstock and Richard II

 

Schedule

Saturday 26 April 2014, 15h-17h.

Room: ENS, salle Celan.

 

More information

For abstracts, click here.
 
 

Seminar 19

Shakespeare and Global Girlhood
 

Leaders

Ariane M. Balizet, Texas Christian University (USA) and Marcela Kostihová, Hamline University (USA)
 

Participants

  1. Leah Adcock-Starr, University of Washington-Seattle (USA)
    B.F.F.’s and the Bard: Reclaiming the Importance of Female Friendship in William Shakespeare’s A Midsummer Night’s Dream
  2. Sara Eaton, North Central College (USA)
    ‘Shaping Fantasies’: Courtly Love and Twentieth-Century Movies of A Midsummer Night’s Dream
  3. Natalie K. Eschenbaum, University of Wisconsin, La Crosse (USA)
    Juliet’s Narcissism
  4. Jennifer Flaherty, Georgia College and State University (USA)
    Is there a Doctor in the House of Capulet?
  5. Preeti Gautam, Government Raza Post Graduate College (India)
    Encoding the Language of Girlhood: A Study of Shakespeare’s A Midsummer Night’s Dream
  6. Erica Hateley, Queensland University of Technology (Australia)
    Antipodean Impulses: Making Sense of Shakespearean Girls in Twenty-First Century Australia
  7. DeLisa D. Hawkes, North Carolina Central University (USA)
    Displacement and Delusion: Comic Reflexivity in A Midsummer Night’s Dream
  8. Celi Oliveto, Mary Baldwin College (USA)
    Challenging Gender Stereotypes through Production
  9. Shannon Reed, University of Pittsburgh (USA)
    A Twenty-Line Trap?: Shakespeare Enacted by Young Women
  10. Paris Shun-Hsiang Shih, National Chengchi University (Taiwan)
    Shakespearean Spice Girls?: Untangling Postfeminist Girlhood in She’s The Man and Ten Things I Hate About You
  11. Lori Lee Wallace, Pacific Lutheran University (USA)
    Patriarchal Idealism and The Merchant of Venice
  12. Deanne Williams, York University (Canada)
    Global Girls in Shakespeare’s Late Plays

 

Schedule

Thursday 24 April 2014, 15h30-17h30.

Room: Maison des Mines, salle AB.

 

More information

For abstracts, click here.
 
 

Seminar 20

‘The web of our life is of a mingled yarn, good and ill together’: The Nature of Problem in Shakespearean Studies
 

Leaders

Jonathan Hart, University of Alberta (Canada) Seda Çağlayan Mazanoğlu, Hacettepe University (Turkey), and Merve Sarı Hacettepe University (Turkey)
 

Participants

  1. Lazarenko Darya, Zaporizhzhia National University (Ukraine)
    “To thine ownself be true”: dealing with opacity and solving riddles in the Ukrainian translations of Hamlet
  2. Preeti Gautam, M.J.P. Rohilkhand University Bareilly (India)
    Airy Nothing or Else? Negotiating A Midsummer Night’s Dream in terms of generic categorization
  3. Özlem Aydin Öztürk, Bülent Ecevit University (Turkey)
    “Like, or find fault, do as your pleasures are”: The Mock-Heroic in Troilus and Cressida
  4. Swati Ganguly, Visva-Bharati (India)
    The problematic of representing Cleopatra: the aesthetics of grotesque
  5. Merve Sarı, Hacettepe University (Turkey)
    The Subversive Power of the Fantastic as a Mode in The Tempest
  6. Lori Lee Wallace, Pacific Lutheran University (USA)
    A problematic relationship in a problem play: why All’s Well that Ends Well is one of the least performed plays of the Shakespearean canon
  7. Kübra Vural, Hacettepe University (Turkey)
    The Problems of the Female Wor(l)d in Troilus and Cressida
  8. Agnieszka Szwach, Jan Kochanowski University, Kielce (Poland)
    All’s Well, That Ends Well: A Problem Play Or A Problematic Heroine?
  9. Jennifer Edwards, Royal Holloway, University of London (UK)
    ‘Bifold authority’: Shakespeare’s Problem Children
  10. Miguel Ramalhete Gomes, University of Porto (Portugal)
    The problem of cynicism in Measure for Measure
  11. Natalia A. Shatalova, Lomonossov Moscow State University (Russia)
    A ‘problem play’: interplay of genre and method
  12. Emine Seda Çağlayan Mazanoğlu, Hacettepe University (Turkey)
    A Problematic Play: Questions, Ambiguity and Human Nature in King Lear

 

Schedule

Tuesday 22 April 2014, 15h30-17h30.

Room: V115/V116.

 

More information

For abstracts, click here.
 
 

Seminar 21

Shakespearean Festivals in the 21st Century
 

Leaders

Nicoleta Cinpoes (University of Worcester, UK), Florence March (IRCL, University Paul-Valéry Montpellier 3, France), and Paul Prescott, (University of Warwick, UK)
 

Participants

  1. Susan Brock (University of Warwick, UK), Paul Edmondson (Shakespeare Birthplace Trust, UK), and Paul Prescott (University of Warwick, UK)
    Shakespeare on the Road: North American Festivals in 2014
  2. Debra Ann Byrd (Producing Artistic Director, Take Wing And Soar Productions and the Harlem Shakespeare Festival, USA)
    The Harlem Shakespeare Festival
  3. Jean-Claude Carrière (President of the Montpellier Festival: “Le Printemps des comédiens”) and Florence March (IRCL, University Paul-Valéry Montpellier 3, France)
    Shaping democratic festivals through Shakespeare in the South of France: Avignon and Montpellier
  4. Nicoleta Cinpoes (University of Worcester, UK)
    ‘Everyman’s Shakespeare’: Craiova Shakespeare Festival
  5. Jacek Fabiszak (Adam Mickiewicz University in Poznań, Poland)
    The Gdansk Shakespeare Festival: A Shakespeare Theatrical Event
  6. Isabel Guerrero Lorente (University of Murcia, Spain)
    The Almagro Festival and its Shakespearean variety
  7. Ivan Lupic (Stanford University, USA)
    What’s Past is Prologue: Ragusan Shakespeare
  8. Boika Sokolova (University of Notre Dame in London, UK)
    Grassroots Shakespeare: Thirteen Years of Performance in the Village of Patalenitsa, Bulgaria
  9. Erin Sullivan (Shakespeare Institute, University of Birmingham, UK)
    Digital Shakespeare and Festive Time
  10. Patricio Orozco (director of Próspero Producciones, Argentina)
    The Shakespeare Festival Buenos Aires
  11. Julia Paraizs (Hungarian Academy of Sciences, Hungary)
    Shakespeare Festival – Gyula, Hungary

 

Schedule

Thursday 24 April 2014, 15h30-17h30.

Room: L109.

 

More information

This international and comparative seminar aims to bring together practitioners, festival staff, actors and directors, performance critics and theatre historians to discuss the recent past, present and future of Shakespearean festivals in Europe, North America and beyond. The seminar will consider festivals focusing exclusively on Shakespeare and festivals in which Shakespeare is significantly involved, drama festivals and arts festivals, experimental festivals which are laboratories for creation and festivals which showcase national or international contemporary artistic creation. Participants are invited to explore the aesthetic, structural, historical and/or socio-political interactions between Shakespeare and the festivals he informs, and the modalities of such interactions.

For a detailed presentation of the questioned addressed during the seminar, click here.

 
 

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Séminaires

Séminaire 1

Shakespeare à l’écran: Les Romances
 

Organisateurs

Sarah Hatchuel
GRIC, University of Le Havre, Sarah.Hatchuel@univ-lehavre.fr

Nathalie Vienne-Guerrin
IRCL, University Paul-Valéry Montpellier 3, Nathalie.Vienne-Guerrin@univ-montp3.fr

 

Participants

  1. Delilah Bermudez Brataas, Sør-Trøndelag University College (Norvège)
    “Most Majestic” or “Baseless Fabric”: The Alternating Utopic (re)Visions of The Tempest
  2. Victoria Bladen, The University of Queensland (Australie)
    Screen Magic in Peter Greenaway’s Prospero’s Books (1991) and Julie Taymor’s The Tempest (2010)
  3. Anne-Marie Cornède, Université Paris Descartes (France)
    Prospero, Ariel, Caliban: Master and Servants or Power at Stake in Tempest on Screen
  4. Sam Crowl, Ohio University (États-Unis)
    Transformation and Adaptation in Julie Taymor’s The Tempest
  5. Jacek Fabiszak, Adam Mickiewicz University in Poznań (Pologne)
    Shakespeare’s romances on Polish television: from theatre in/on television to a television show, from bookish Bard to subversive Shakespeare
  6. Kinga Földváry, Pázmány Péter Catholic University (Hongrie)
    Ghost Towns and Alien Planets: Variations on Prospero’s Island in Screen Versions of The Tempest
  7. Gaëlle Ginestet, Université Paul-Valéry Montpellier 3, IRCL (France)
    The Tempest in Le Bal du Comte d’Orgel (1970) by Marc Allégret: Shakespeare Grafted onto Radiguet
  8. Russell Jackson, University of Birmingham (Royaume-Uni)
    Home and Colonial: the Tempest films of Jarman, Taymor and Mazursky
  9. Randy Laist, Goodwin College (États-Unis)
    Hyperreality and the Western Imagination in Prospero’s Books
  10. Courtney Lehmann, University of the Pacific (États-Unis)
    A Fine Romance: Prospera and the Work of Art in the Age of Biocybernetic Reproduction
  11. Maddalena Pennacchia, Roma Tre University (Italie)
    Puppetry on Screen: The Tempest and The Winter’s Tale in The Animated Tales from Shakespeare
  12. Lindsay Reid, the National University of Ireland, Galway (Irlande)
    “This Fierce Abridgement”: Thanhouser’s Two-Reel Cymbeline (1913) and the Question of Genre
  13. Edel Semple, University College Cork (Irlande)
    Looking at Good Daughters and Bad Mothers: Women in the BBC Shakespeare Series’ Pericles
  14. Peter J. Smith, University of Nottingham Trent (Royaume-Uni)
    “Something Rich and Strange”: Jarman and Greenaway and the defamiliarisation of The Tempest
  15. Bob White, University of Western Australia (Australie)
    Elijah Moshinsky’s Television Cymbeline
  16. John Wyver, University of Westminster/Illuminations (Royaume-Uni)
    Scenes from Cymbeline and the language of the early television studio

 

Horaire

Vendredi 25 avril 2014, 16h-18h.

Salle : V106A.

 

Plus d’infos

Pour lire les résumés, cliquer ici (en anglais).

This seminar will discuss screen adaptations, screen appropriations or screen quotations of Shakespeare’s romances: Pericles, Cymbeline, The Winter’s Tale and The Tempest. The papers examine, among other aspects:

  • how the play is (textually, aesthetically, ideologically, etc.) transformed when directed for the screen;
  • what each version reveals about the (sometimes postcolonial) culture in which it is set;
  • how Shakespeare’s playscript (or plot) interacts with national ideologies and representations;
  • how the screen versions have been influenced and shaped by previous theatre productions;
  • how the gender and racial issues have been addressed;
  • how the magical aspects of the plays interrelate with the filmic medium;
  • how the issues of time and space are tackled by film directors;
  • how the Romances have influenced non-Shakespearean filmic works or how they have been quoted/appropriated/challenged in various films.
     
 

Séminaire 2

Biology through Shakespeare
 

Organisateurs

Rachel Rodman, Durham, NC (États-Unis)
 

Participants

  1. Chiara Battisti, University of Verona (Italie)
    Richard III and disability studies
  2. Natalia Brzozowska, Adam Mickiewicz University (Pologne)
    Merging the biological and the social – the relationship between age,‘choler’ and status in William Shakespeare’s King Lear and Romeo and Juliet
  3. John F. Maune, Hokusei Gakuen University (Japon)
    With Love’s Light Wings: Romeo and Juliet in a Life Science Classroom
  4. Nahid Mohammadi, Alzahra University (Iran)
    The Ecology of Human and Nonhuman Nature in Shakespeare: A Reading of Four Elements
  5. Rachel Rodman, Durham, NC (États-Unis)
    Biology through Shakespeare
  6. Lauren Shohet, Villanova University (États-Unis)
    Floral Networks
  7. Michael A. Winkelman, Owens Tech (États-Unis)
    ‘To Preserve This Vessel’: Jealousy, Evolution, and Othello

 

Horaire

Mercredi 24 avril 2014, 15h30-17h30.

Salle : V106B.

 

Plus d’infos

Pour lire les résumés, cliquer ici (en anglais).
 
 

Séminaire 3

The Many Lives of William Shakespeare: Collaboration, Biography and Authorship
 

Organisateurs

Paola Pugliatti, University of Florence (Italie) et William Leahy, Brunel University London (Royaume-Uni)
 

Participants

  1. Christy Desmet, University of Georgia (États-Unis)
    If the Style is the Man, Who Wrote Hamlet Q1?
  2. Jeffrey Kahan, University of La Verne (États-Unis)
    “I tell you what mine author says”: A Brief History of Stylometrics
  3. William Lehay, Brunel University, London (Royaume-Uni)
    Shakespearean Biography: Too Much Information (but not about Shakespeare)
  4. John V. Nance, Florida State University (États-Unis)
    Defining Co-authorship in Shakespeare’s Early Canon
  5. Donatella Pallotti, University of Florence (Italie)
    Issues of (Collaborative) Authorship in Shakespeare’s Poems
  6. Robert Sawyer, East Tennessee State University (États-Unis)
    ‘Fabricated Lives’: Shakespearean Collaboration in Fictional Forms
  7. Gary Taylor, Florida State University (États-Unis)
    Faking It: Imitating Shakespeare in Double Falsehood and Cardenio

 

Horaire

Mardi 22 avril 2014, 15h30-17h30.

Salle : V106A.

 

Plus d’infos

Pour lire les résumés, cliquer ici (en anglais).
 
 

Séminaire 4

Early Shakespeare
 

Organisateurs

Rory Loughnane and Andrew J. Power (États-Unis)
 

Participants

  1. Terri Bourus, Indiana University-Purdue University Indianapolis (États-Unis)
    Shakespeare’s Early Hamlet
  2. Rob Carson, Hobart and William Smith Colleges (États-Unis)
    Shakespeare and the Queen’s Men
  3. Fran X. Connor, Wichita State University (États-Unis)
    Richard Field and Venus and Adonis
  4. Hugh Craig, University of Newcastle (Australie)
    Cliques, networks and nodes: affinity and distinctiveness in early Shakespeare
  5. Gabriel Egan, De Montfort University (Royaume-Uni)
    The Date and Authorship of The Two Gentlemen of Verona
  6. MacDonald Jackson, University of Auckland (Nouvelle Zélande)
    Arden of Faversham and Shakespeare’s Early Collaborations
  7. John Jowett, Shakespeare Institute (Royaume-Uni)
    Reconstruction or Collaboration: The Case of Richard Duke of York
  8. Andy Kesson, University of Kent (Royaume-Uni)
    Early Shakespeare and the first generation of commercial theatre
  9. Rory Loughnane, Indiana University-Purdue University Indianapolis (États-Unis)
    Early Shakespeare, Late Peele
  10. Anna Pruitt, Indiana University-Purdue University Indianapolis (États-Unis)
    The question of authorship and chronology in Act IV Scene 1 of Titus Andronicus
  11. Peter Sillitoe, De Montfort University (Royaume-Uni)
    Locating the Henry VI Plays: Spatial Dynamics in Early Shakespeare
  12. Will Sharpe, Shakespeare Institute (Royaume-Uni)
    Shakespeare’s Habits as a Collaborative Author
  13. Holger Schott Syme, University of Toronto (Canada)
    Whose Shakespeare?
  14. Gary Taylor, Florida State University (États-Unis)
    The Fly Scene in Titus

 

Horaire

Vendredi 25 avril 2014, 16h-18h.

Salle : Vendôme.

 

Plus d’infos

Pour lire les résumés, cliquer ici (en anglais).
 
 

Séminaire 5

Shakespeare and the Visual Arts
 

Organisateur

Michele Marrapodi (Italie)
 

Participants

  1. Susan L. Fischer, Bucknell University (États-Unis)
    Ekphrastic Criticism in Practice: Making the (Reader) “See” Shakespeare-in-Performance
  2. Elizabeth Howie and Dr. Tripthi Pillai, Coastal Carolina University (États-Unis)
    “So Full of Shapes is Fancy”: Photogenic Time and Space in Twelfth Night
  3. José Manuel González, University of Alicante (Espagne)
    Painting and Representing Gender in the Drama of Early Modern England and Spain
  4. Michele De Benedictis, University of Cassino (Italie)
    The substantial pageant of majestic vision: Shakespeare, Stuart Masques, and the Theatrical Paragone of Arts
  5. Stephen Guy-Bray, University of British Columbia (États-Unis)
    Deceiving Art in Venus and Adonis
  6. Peter Latka, University of Toronto (Canada)
    “All Adonises must die”: Shakespeare, Titian, and Elizabethan Visual Culture
  7. Armelle Sabatier, University of Paris II Panthéon-Assas (France)
    Roses and Blood: Depicting and Visualising Red in Shakespeare’s The Rape of Lucrece
  8. Laura Beattie, Freie Universitaet Berlin (Allemagne)
    “I understand her signs”: Ekphrasis and the Male Gaze in The Rape of Lucrece and Titus Andronicus
  9. Camilla Caporicci, University of Perugia (Italie)
    “Your painted counterfeit”: Drawing Portraits and Writing Sonnets
  10. Keir Elam, University of Bologna (Italie)
    “Wanton pictures”: The Baffling of Christopher Sly and the Visual-Verbal Intercourse of Early Modern Erotic Art
  11. François-Xavier Gleyzon, University of Central Florida (États-Unis)
    Opening the Sacred Body: Shakespeare and Uccello
  12. Neslihan Ekmekçioğlu, Hacettepe University (Turquie)
    Ekphrasis in Shakespeare’s Two Scenes of Drowning: Ophelia and Clarence’s Dream
  13. Julia Cleave, Member of the Academic Board of the Temenos Academy (Royaume-Uni)
    “Well-painted passion”: Shakespeare and the Bassano Fresco
  14. Guillaume Mauger, Paris IV-Sorbonne (France)
    “I have drawn her picture with my voice”: Desiring Gaze and Perspective Tricks in Shakespeare’s Rhetorical Portraits
  15. Hanna Scolnicov, Tel-Aviv University (Israël)
    Both Goddess and Woman: Cleopatra and Venus
  16. Olivia Coulomb, Aix-Marseille Université (France)
    Shakespeare’s Octavia and Cleopatra: between Stasis and Movement
  17. Michele Marrapodi, University of Palermo (Italie)
    “Pencill’d pensiveness and colour’d sorrow”: Visual Representation and Ekphrastic Tension in Othello, Cymbeline, and Lucrece
  18. Muriel Cunin, Université de Limoges (France)
    “Those foundations which I build upon”: Construction and Misconstruction in The Winter’s Tale
  19. Maria Del Sapio Garbero, Roma Tre University (Italie)
    Maternity and the Visual Arts in Shakespeare’s Romances
  20. Giuseppe Leone, Università di Palermo (Italie)
    “Hath Death lain with thy wife”: Eroticized Death Iconography in Shakespeare

 

Horaire

Samedi 26 avril 2014, 15h-18h.

Salle : ENS, salle des Actes.

 

Plus d’infos

Pour lire les résumés, cliquer ici (en anglais).
 
 

Séminaire 6

Global Shakespeare as Methodology
 

Organisateurs

Ema Vyroubalova (Trinity College Dublin), Elizabeth Pentland (York University), and Alexa Huang, George Washington University (États-Unis)
 

Participants

Discutant:

David Schalkwyk, Global Shakespeare Centre, Queen Mary University of London and University of Warwick (Royaume-Uni)

Participants présentés par ordre alphabétique:

  1. Anston Bosman, Amherst College (États-Unis)
    Aside Effects
  2. Mariacristina Cavecchi, University of Milan (Italie)
    Tagging the Bard. Shakespeare and Graffiti
  3. Tom Cheesman, Swansea University (Royaume-Uni)
    The ”Global” Shakespeare Translation Space
  4. Brian Culver, New York University (États-Unis)
    “[B]anish plump Jack, and banish all the world”: Global Studies and Shakespeare’s History Plays
  5. Eric Johnson, Folger Shakespeare Library (États-Unis)
    BardMetrics: Measuring the Global Shakespeare Marketplace
  6. Yvette Khoury, Independent Scholar (Royaume-Uni)
    The ‘Customised’ Model of Aterlife Draws On
  7. Aneta Mancewicz, University of Bedfordshire (Royaume-Uni)
    Global and Local Dialectics in Jan Klata’s Titus Andronicus (Wroclaw & Dresden 2012)
  8. Martin Orkin, University of Haifa (Israël)
    Troilus and Cressida: Shakespeare, the National Theatre and the RSC as ‘global’?
  9. Ronan Paterson, Teesside University (Royaume-Uni)
    “Cleave not to their mould”: Transformations of Macbeth
  10. Elizabeth Pentland, York University (Canada)
    Hujjat: Figuring the Global and the Local in Student Appropriations of Shakespeare
  11. Aleksandra (Ola) Sakowska, King’s College London (Royaume-Uni)
    ‘Liquid Shakespeare’: Theorising global and local performance from a sociological perspective
  12. Mariangela Tempera, University of Ferrara (Italie)
    Global Shakespeare in Tatters: Analyzing Fragments from His Works in World Cinema
  13. Ema Vyroubalova, Trinity College Dublin (Irlande)
    Methods behind Designing Global Shakespeare Courses

 

Horaire

Mardi 22 avril 2014, 15h30-17h30.

Salle : Vendôme.

 

Plus d’infos

Pour lire les résumés, cliquer ici (en anglais).
 
 

Séminaire 7

‘In this distracted globe’?: Cognitive Shakespeare
 

Organisateurs

Anja Müller-Wood et Sibylle Baumbach (Allemagne)
 

Participants

  1. Elisa Bertinato, Tor Vergata University, Rome (Italie)
    Interpreting space, movement and power in Measure for Measure
  2. Michael Booth, Brandeis University/Harvard University (États-Unis)
    Shakespeare, Stories and Conceptual Blending
  3. Joachim Frenk, Universität des Saarlandes (Allemagne)
    Falstaff’s Self-Serving Rhetoric
  4. N.R. Helms, University of Alabama, Tuscaloosa (États-Unis)
    Collaborative Cognition: Communicating with Madness in The Two Noble Kinsmen
  5. Lalita Pandit Hogan, University of Wisconsin-La Crosse (États-Unis)
    “… breaking of so great a thing should make a greater crack”: Cognitive Unconscious, Rasa, and Shakespeare’s Antony and Cleopatra
  6. Patrick Colm Hogan, University of Connecticut (États-Unis)
    My Othello Problem: Cognition and Aesthetic Response
  7. Raphael Lyne, University of Cambridge (Royaume-Uni)
    Shakespeare and Social Cognition
  8. Felix Sprang, Universität Hamburg (Allemagne)
    “Where think’st thou he is now?” The Extension of Rhetoric into Cognition in Shakespeare’s Antony & Cleopatra

 

Horaire

Mercredi 24 avril 2014, 15h30-17h30.

Salle : V106A.

 

Plus d’infos

Pour lire les résumés, cliquer ici (en anglais).
 
 

Séminaire 8

La fabrique du personnage shakespearien
 

Organisatrices

Delphine Lemonnier-Texier, Université Rennes 2, Isabelle Schwartz-Gastine, Université de Caen, et Estelle Rivier, U. du Maine (France)
 

Participants

  1. Miguel Borras, fondateur du Théâtre du Bout du Monde (France)
  2. Adel Hakim, directeur du Théâtre des Quartiers d’Ivry (France)
  3. Thomas Jolly, directeur artistique de La Piccola Familia (France)
  4. Abigail Rokison, Université de Birmingham (Royaume-Uni)

 

Horaire

Vendredi 25 avril 2014, 16h-18h.

Salle : V106B.

 

Plus d’infos

Support de tous les fantasmes de création lors du passage au plateau, le personnage shakespearien est aussi la base du rêve de l’artiste, acteur ou metteur en scène puis du spectateur. La matérialité du rôle à l’époque élisabéthaine – rouleau de parchemin sur lequel figuraient les seules répliques prises en charge par le personnage – est là pour rappeler à la fois la primauté du jeu théâtral dans l’approche du texte shakespearien et la spécificité du rôle comme part. à l’écoute des artistes et de leurs méthodes et approches, les questions de rôle, de distribution, de jeu et de direction d’acteurs seront abordées dans un questionnement fondé sur l’étude et l’analyse de la fabrique du spectacle.

Pour consulter les biographies des intervenants, cliquer ici.

 
 

Séminaire 9

Legal Perspectives on Shakespearean Theatre
 

Organisateurs

Daniela Carpi and J. Gaakeer (Italie-Pays Bas)
 

Participants

  1. Helen Vella Bonavita, Edith Cowan University, Western Australia (Australie)
    Stand up for Bastards: Legitimacy and Illegitimacy in Shakespeare’s plays
  2. Francois Ost, Université Saint-Louis, Bruxelles (Belgique)
    Weak kings and perverted symbolism. How Shakespeare treats the doctrine of the King’s two bodies
  3. Carolyn Sale, University of Alberta (Canada)
    Shakespeare’s Common Law: Hamlet and Conscience
  4. Gary Watt, University of Warwick (Royaume-Uni)
    No Play Without Will
  5. Andrew Majeske, University of California Davis (États-Unis)
    Dying declarations, feigned deaths, and dramatic rebirths in Shakespeare’s Rape of Lucrece, Othello, and The Winter’s Tale

 

Horaire

Mercredi 23 avril 2014, 11h-13h.

Salle : Vendôme.

 

Plus d’infos

Pour lire les résumés, cliquer ici (en anglais).
 
 

Séminaire 10

Shakespeare and Slavic / East and Central European Countries
 

Organisateurs

Michelle Assay, and David Fanning (France-Royaume-Uni)
 

Participants

  1. Michelle Assay, Université Paris-Sorbonne (France) et University of Sheffield (Royaume-Uni)
    Akimov and Shostakovich’s Hamlet: a Soviet ‘Shakesperiment’
  2. Zorica Bečanović-Nikolić, University of Belgrade (Serbie)
    Shakespeare’s Tercentenary in Serbian Poetry
  3. Chris Berchild, Indiana State University (États-Unis)
    Designing the Bohemian Coast: Twentieth Century Czech Appropriations of Shakespearean Space and Place
  4. Frank W. Brevik, Savannah State University (États-Unis)
    East European Shakespeare Pre- and Post-1989: A Formalist Presentism?
  5. Jana Bžochová-Wild, Academy of Performing Arts Bratislava (Slovaquie)
    Tracking (Foot)prints of Shakespeare in Slovak
  6. Anna Cetera, University of Warsaw (Pologne)
    I see it in my motion, have it not in my tongue: The Slavic Sounds of Shakespeare
  7. Refik Kadija, “Luigi Gurkauqi” University of Shkodër (Albanie)
    History of Shakespeare’s Translations into Albanian and the Stage Production of Shakespeare’s Plays in Albania
  8. Natalia Khomenko, York University (Canada)
    Seeing Double: Cultural Appropriation and Shakespearean Characters in the Soviet Novel
  9. Jiri Kopecky, Palacký University Olomouc (République tchèque)
    William Shakespeare and Czech National Music
  10. Gabriela Łazarkiewicz, University of Warsaw (Pologne)
    Shoah and The Tempest in Poland: The Productions of 1938 (dir. Leon Schiller) and of 2003 (dir. Krzysztof Warlikowski)
  11. Ivona Mišterová, University of West Bohemia in Pilsen (République tchèque)
    “Hurry, hurry and love, what thou shall not see twice”: The Shakespeare Festival at the National Theatre in Prague in 1916
  12. Madalina Nicolaescu, University of Bucharest (Roumanie)
    Shakespeare Studies in Socialist Romania
  13. Alexandra Portmann, University of Berne (Suisse)
    Who is Fortinbras after the siege of Dubrovnik? Staging Shakespeare’s Hamlet at the Dubrovnik Summer Festival in 1994
  14. Irina Prikhodko, Russian Academy of Sciences, Moscow (Russie)
    Russian translations of Shakespeare’s Sonnets
  15. Gabriella Reuss, Pázmány Péter Catholic University (Hongrie)
    Appropriations of Shakespeare in 1838: Experimenting with the tragic and the pathetic in England and Hungary
  16. Andrzej Wicher, University of Łódź (Pologne)
    Wawel meets Elsinore. The National and Universal Aspects of Stanisław Wyspiański’s Vision of Shakespeare’s Hamlet
  17. Oana-Alis Zaharia, “Dimitrie Cantemir” University of Bucharest (Roumanie)
    “Tomorrow, and tomorrow, and tomorrow…” Nineteenth-Century Romanian Macbeth(s)

 

Horaire

Samedi 26 avril 2014, 15h-17h.

Salle : V106A.

 

Plus d’infos

Pour lire les résumés, cliquer ici (en anglais).
 
 

Séminaire 11

«C’est shakespearien !»: The critical fortune of a commonplace in France from 1820 to the present
 

Organisatrices

Gisèle Venet et Line Cottegnies (France)
 

Participants

  1. Sylvaine Bataille, Université de Rouen (France)
    Quand les séries américaines sont « shakespeariennes » : le cliché à l’épreuve de la production télévisuelle contemporaine
  2. Christine Sukic, Université de Reims (France)
    « Il est Shakespeare ! »
  3. Gabriel Louis Moyal, McMaster University, Hamilton (Canada)
    Traduire l’Angleterre : Le Shakespeare de François Guizot
  4. Emilie Ortiga, Université du Havre (France)
    The Presence of Shakespeare in Balzac’s La Cousine Bette
  5. Florence Krésine, Université Sorbonne Nouvelle – Paris 3 (France)
    Shakespeare-Gautier : trait d’union ou trait de génie ?
  6. Frédéric Picco, Lycée Camille Jullian à Bordeaux (France)
    Les Contes cruels, ou quand le conte devient le lieu shakespearien
  7. Ladan Niayesh, Université Paris Diderot – Paris 7 (France)
    Bellini’s I Capuleti e i Montecchi and Berlioz’s ‘Shakespeare’

 

Horaire

Samedi 26 avril 2014, 15h-17h.

Salle : ENS, salle des Résistants.

 

Plus d’infos

Pour lire les résumés, cliquer ici.
 
 

Séminaire 12

‘Green’ or Ecocritical Shakespeare: non- human nature as a character in his plays
 

Organisatrice

Malvina Isabel Aparicio (Argentine)
 

Participants

  1. Sharon O’Dair, University of Alabama Tuscaloosa (États-Unis)
    “Water’s Violent Love”
  2. Anna Kowalcze-Pawlik, Jagiellonian University (Pologne)
    “Map of Woe”: The Topography of Female Body in Titus Andronicus
  3. Joseph Campana, Rice University (États-Unis)
    The Bee and the Sovereign: Segments, Swarms, and the Early Modern Multitude in Coriolanus
  4. Viktoriia Marinesko, Classic Private University, Zaporizhzhia (Ukraine)
    “The Something that Nature Gave Me”: the Role of Nature in Shaping the Genius through the Prism of Shakespeare’s Biographies
  5. Malvina Aparicio, Argentine Catholic University / University of the Salvador (Argentine)
    The Non-Human as a Character in Macbeth
  6. Simon C. Estok, Sungkyunkwan University (Corée du Sud)
    Ecocriticism and Timon of Athens
  7. David Morrow, College of Saint Rose (États-Unis)
    Shakespeare before the Metabolic Rift: Land, Labor and Ecocriticism
  8. Doyle Ott, Sonoma State University (États-Unis)
    Putting a Tempest in a Teapot: Physicalizing the Storm in Shakespearean Performance

 

Horaire

Mercredi 23 avril 2014, 11h-13h.

Salle : V106B.

 

Plus d’infos

Pour lire les résumés, cliquer ici (en anglais).
 
 

Séminaire 13

The Shakespeare Circle
 

Organisateurs

Stanley Wells and Paul Edmondson, Shakespeare Birthplace Trust (Royaume-Uni)
Seminar 13}The Shakespeare Circle
 

Leaders

Stanley Wells and Paul Edmondson, Shakespeare Birthplace Trust (Royaume-Uni)
 

Participants

  1. John Astington, University of Toronto (Canada)
    Theatre Friends: The Burbages
  2. Susan Brock, University of Warwick (Royaume-Uni)
    Shakespeare’s Neighbours and Beneficiaries
  3. Paul Edmondson, The Shakespeare Birthplace Trust (Royaume-Uni)
    Actors and Editors John Heminges and Henry Condell
  4. David Fallow, Independent Scholar (Royaume-Uni)
    His father John Shakespeare
  5. Graham Holderness, University of Hertfordshire (Royaume-Uni)
    His son, Hamnet Shakespeare
  6. Andrew Kesson, University of Roehampton (Royaume-Uni)
    Fellow Dramatists and Early Collaborators Henry Chettle, Robert Greene, John Lyly, Christopher Marlowe, Thomas Nashe, George Peele
  7. Alan Nelson, University of California, Berkeley (États-Unis)
    His literary patrons the Right Honourable Henry Wriothesley, 3rd Earl of Southampton and Sir John Salusbury
  8. Duncan Salkeld, University of Chichester (Royaume-Uni)
    Collaborator George Wilkins
  9. Bart Van Es, St Catherine’s College, Oxford (Royaume-Uni)
    Fellow Actors Will Kemp, Augustine Phillips, Robert Armin and other members of the Lord Chamberlain’s Men and King’s Men
  10. Greg Wells, University of Warwick (Royaume-Uni)
    Son-in-law John Hall
  11. Catherine Shrank, University of Sheffield (Royaume-Uni)
    His sister’s family: The Harts
  12. Stanley Wells, The Shakespeare Birthplace Trust (Royaume-Uni)
    A close family connection: The Combes

 

Horaire

Mercredi 23 avril 2014, 11h-13h.

Salle : V107.

 

Plus d’infos

Présentation du séminaire, cliquer ici.
 
 

Séminaire 14

‘Many straunge and horrible events’ – Omens and Prophecies in Histories and Tragedies by Shakespeare and His Contemporaries
 

Organisateurs

Imke Lichterfeld, Universität Bonn (Allemagne) et Yan Brailowsky, Université Paris Ouest Nanterre La Défense (France)
 

Participants

  1. Justin Kolb, American University in Cairo (Egypte)
    “The Dissolution of the Engine of this World”: History and the Decay of Nature in History
  2. Lee Rooney, University of Liverpool (Royaume-Uni)
    ‘A prophet to the fall of all our foes!’: Joan la Pucelle, prophecy, and the challenging of history in 1 Henry VI
  3. Jessica Malay, University of Huddersfield (Royaume-Uni)
    Opposing interpretations of sibylline dynastic prophecy in Shakespeare’s Macbeth and Fletcher’s The Prophetess
  4. Craig Bourne, University of Hertfordshire (Royaume-Uni), et Emily Caddick Bourne, Institute of Continuing Education, University of Cambridge; Institute of Philosophy & Birkbeck, University of London (Royaume-Uni)
    Prophecy and misunderstanding in Macbeth
  5. Per Sivefors, Linnaeus University (Suède)
    Prophecies, dreams and epistemological change in early modern drama
  6. Oriane Littardi, Université Sorbonne Nouvelle – Paris 3 (France)
    “What are you?”: Identifying Anonymous Prophets in Shakespeare’s Tragedies and Histories
  7. Jordi Coral, Universitat Autònoma de Barcelona (Espagne)
    “Can Curses Pierce the Clouds and Enter Heaven?”: Prophecy and Imprecation in Richard III
  8. Kristin M. Distel, Ashland University (États-Unis)
    “By the pricking of my thumbs”: Corporeal Omens in Shakespeare’s Tragedies
  9. Nathalie Borrelli, Université de Namur (Belgique)
    Shakespeare’s Prophesying Witches
  10. Patricia Harris Stablein Gillies, University of Essex (Royaume-Uni)
    The Crowned Eye: Visual Space and Prophecy in 1 Henry VI

 

Horaire

Samedi 26 avril 2014, 15h-17h.

Salle : Vendôme.

 

Plus d’infos

Pour lire les résumés, cliquer ici (en anglais).
 
 

Séminaire 15

Shakespeare in French Film/France in Shakespearean Film
 

Organisateurs

Melissa Croteau, California Baptist University (États-Unis) et Douglas Lanier, University of New Hampshire (États-Unis)
 

Participants

  1. Mário Vítor Bastos, University of Lisbon (Portugal)
    Shakespeare and the Poetics of French Film in the early 1960s: Ophélia by Claude Chabrol
  2. Stephen M. Buhler, University of Nebraska-Lincoln (États-Unis)
    “You may go so far”: Branagh, Depardieu, Reynaldo
  3. Maurizio Calbi, University of Salerno (Italie)
    Exilic / Idyllic Shakespeare: Reiterating Pericles in Jacques Rivette’s Paris nous appartient
  4. Melissa Croteau, California Baptist University (États-Unis)
    “I am not what I am”: Othello and Role-playing in Le Enfants du Paradis
  5. Patricia Dorval, Université Paul Valéry, Montpellier III (France)
    Macbeth in André Barsacq’s Crimson Curtain (1952): Mise en Abyme and Transgression
  6. Anthony Guneratne, Florida Atlantic University (États-Unis)
    A Certain Tendence in Post-New Wave Shakespearean Cinema: From Early Truffaut to Late Godard via Orson Welles
  7. Douglas Lanier, University of New Hampshire (États-Unis)
    The Real and the Fake: Shakespeare, Cinema, Authenticity, and Post-War Europe in André Cayatte’s Les Amants de Vérone

 

Horaire

Mercredi 23 avril 2014, 11h-13h.

Salle : V106A.

 

Plus d’infos

Pour lire les résumés, cliquer ici (en anglais).
 
 

Séminaire 16

The Celebrated Shakespeare: public commemoration and biography
 

Organisateur

Michael Dobson, Shakespeare Institute, University of Birmingham (Royaume-Uni)
 

Participants

  1. Rui Carvalho Homem, Universidad do Porto (Portugal)
    Secular Saints : Shakespeare in the Camões Tricentenary (1880)
  2. Anna Khrabrova, Ukrainian Shakespeare Centre, Classic Private University, Zaporizhzhia (Ukraine)
    “Your changed complexions are to me a mirror which shows me mine changed too”: Shakespeare visualization and monumentalization
  3. Robert McHenry, University of Hawaii (États-Unis)
    John Dryden’s Shakespeare: Before Shakespearean Biography
  4. Karen Newman, Brown University (États-Unis)
    Shakespeare celebrated in Paris, 1827
  5. Gabriella Reuss, Pázmány Péter Catholic University (Hongrie)
    The Blemishes of the Repertoire: Translation as Celebration. The Shakespeare Cult in Nineteenth Century Hungary
  6. Francisco Fuentes Rubio, University of Murcia (Espagne)
    Mickey Mouse Shakespeare: An apparently conservative postal walk through Stratford
  7. Codruta Mirela Stănişoară, University of Craiova (Roumanie), and Emil Sîrbulescu, University of Craiova (Roumanie)
    From Global to Local and back to Global: a case-study in Shakespeare’s Romanian after-life
  8. Nataliya Torkut, Ukrainian Shakespeare Centre, Classic Private University, Zaporizhzhia (Ukraine)
    “…By the image of my cause, I see the portraiture of his”: public commemoration of Shakespeare in the Soviet Ukraine
  9. Noemi Vera, University of Murcia (Espagne)
    Celebrating the man: Spanish biographies of Shakespeare in the tercentenary of his death
  10. Shuhua Wang, National I-Lan University (Taïwan)
    The ‘Shakespeare Renaissance’ and the Rise of China

 

Horaire

Mardi 22 avril 2014, 15h30-17h30.

Salle : ENS, salle Dussane.

 

Plus d’infos

Pour lire les résumés, cliquer ici (en anglais).
 
 

Séminaire 17

‘Seeing As’: Shakespeare and Denotement
 

Organisateur

Michael Hattaway, New York University in London (Royaume-Uni)
 

Participants

  1. Letitia Goia, Babes-Bolyai University, Cluj Napoca (Roumanie)
    The Enhancement Of Shakespeare’s Sacred in Verdi’s Adaptation of Othello
  2. Claire Guéron, Université de Bourgogne (France)
    ‘I would [..] / Have turned mine eye’ (Cymbeline, 1.3.17-22): Shifting to the Mind’s Eye in Shakespeare’s Late Plays
  3. Eric Harber, Independent Scholar (Royaume-Uni)
    Ambivalence: fire and mud in Othello
  4. John Langdon, Shakespeare Institute (Royaume-Uni)
    Death in Midsummer: the Ritual Death of Pyramus and Thisbe in A Midsummer Night’s Dream
  5. Emilio Méndez, Universidad Nacional Autónoma de México (Mexique)
    ‘Behold the meaning’:  Denotements through the Sonnets of Love’s Labour’s Lost and All’s Well That Ends Well
  6. Patricia Parker, Stanford University (États-Unis)
    (De)noting and Slander
  7. Kiernan Ryan, Royal Holloway, University of London (Royaume-Uni)
    ‘Prosper on the top (invisible)’: Power and Perception in Shakespeare
  8. Ewa Sawicka, Warsaw University (Pologne)
    Self-mystification in William Shakespeare’s As You Like It, Macbeth, and Cymbeline

 

Horaire

Vendredi 25 avril 2014, 16h-18h.

Salle : L106.

 

Plus d’infos

Pour lire les résumés, cliquer ici (en anglais).
 
 

Séminaire 18

Shakespeare, Middleton and the fatherless lineage
 

Organisatrices

Rosy Colombo, University of Rome “Sapienza” (Italie), et Daniela Guardamagna, University of Rome “Tor ergata”(Italie)
 

Participants

  1. Francesca Brancolini, University of Rome “Tor Vergata” (Italie)
    Was It Shakespeare Who Revised Locrine? A Question of Authorship
  2. Rosy Colombo Smith, “Sapienza” University of Rome (Italie)
    Origin Displaced
  3. Tommaso Continisio, University of Rome “Tor Vergata” (Italie)
    Shakespeare’s Hand in Mucedorus: Did the Bard Write the Additional Scenes?
  4. Daniela Guardamagna, University of Rome “Tor Vergata” (Italie)
    Middleton beyond the Canon
  5. Roger Holdsworth, University of Manchester (Royaume-Uni)
    Timon of Athens as a Middleton Play
  6. Lucia Nigri, University of Salford (Royaume-Uni)
    Authorial and non-authorial links in The Lady’s Tragedy
  7. Giuliano Pascucci, “Sapienza” University of Rome (Italie)
    Not All is Lost. Cardenio, Double Falsehood and music
  8. Rossana M. Sebellin, University of Rome “Tor Vergata” (Italie)
    Imagery in Thomas of Woodstock and Richard II

 

Horaire

Samedi 26 avril 2014, 15h-17h.

Salle : ENS, salle Celan.

 

Plus d’infos

Pour lire les résumés, cliquer ici (en anglais).
 
 

Séminaire 19

Shakespeare and Global Girlhood
 

Organisatrices

Ariane M. Balizet, Texas Christian University (États-Unis) and Marcela Kostihová, Hamline University (États-Unis)
 

Participants

  1. Leah Adcock-Starr, University of Washington-Seattle (États-Unis)
    B.F.F.’s and the Bard: Reclaiming the Importance of Female Friendship in William Shakespeare’s A Midsummer Night’s Dream
  2. Sara Eaton, North Central College (États-Unis)
    ‘Shaping Fantasies’: Courtly Love and Twentieth-Century Movies of A Midsummer Night’s Dream
  3. Natalie K. Eschenbaum, University of Wisconsin, La Crosse (États-Unis)
    Juliet’s Narcissism
  4. Jennifer Flaherty, Georgia College and State University (États-Unis)
    Is there a Doctor in the House of Capulet?
  5. Preeti Gautam, Government Raza Post Graduate College (Inde)
    Encoding the Language of Girlhood: A Study of Shakespeare’s A Midsummer Night’s Dream
  6. Erica Hateley, Queensland University of Technology (Australie)
    Antipodean Impulses: Making Sense of Shakespearean Girls in Twenty-First Century Australia
  7. DeLisa D. Hawkes, North Carolina Central University (États-Unis)
    Displacement and Delusion: Comic Reflexivity in A Midsummer Night’s Dream
  8. Celi Oliveto, Mary Baldwin College (États-Unis)
    Challenging Gender Stereotypes through Production
  9. Shannon Reed, University of Pittsburgh (États-Unis)
    A Twenty-Line Trap?: Shakespeare Enacted by Young Women
  10. Paris Shun-Hsiang Shih, National Chengchi University (Taïwan)
    Shakespearean Spice Girls?: Untangling Postfeminist Girlhood in She’s The Man and Ten Things I Hate About You
  11. Lori Lee Wallace, Pacific Lutheran University (États-Unis)
    Patriarchal Idealism and The Merchant of Venice
  12. Deanne Williams, York University (Canada)
    Global Girls in Shakespeare’s Late Plays

 

Horaire

Mercredi 24 avril 2014, 15h30-17h30.

Salle : Maison des Mines, salle AB.

 

Plus d’infos

Pour lire les résumés, cliquer ici (en anglais).
 
 

Séminaire 20

‘The web of our life is of a mingled yarn, good and ill together’: The Nature of Problem in Shakespearean Studies
 

Organisateurs

Jonathan Hart, University of Alberta (Canada) Seda Çağlayan Mazanoğlu, Hacettepe University (Turquie), et Merve Sarı Hacettepe University (Turquie)
 

Participants

  1. Lazarenko Darya, Zaporizhzhia National University (Ukraine)
    “To thine ownself be true”: dealing with opacity and solving riddles in the Ukrainian translations of Hamlet
  2. Preeti Gautam, M.J.P. Rohilkhand University Bareilly (Inde)
    Airy Nothing or Else? Negotiating A Midsummer Night’s Dream in terms of generic categorization
  3. Özlem Aydin Öztürk, Bülent Ecevit University (Turquie)
    “Like, or find fault, do as your pleasures are”: The Mock-Heroic in Troilus and Cressida
  4. Swati Ganguly, Visva-Bharati (Inde)
    The problematic of representing Cleopatra: the aesthetics of grotesque
  5. Merve Sarı, Hacettepe University (Turquie)
    The Subversive Power of the Fantastic as a Mode in The Tempest
  6. Lori Lee Wallace, Pacific Lutheran University (États-Unis)
    A problematic relationship in a problem play: why All’s Well that Ends Well is one of the least performed plays of the Shakespearean canon
  7. Kübra Vural, Hacettepe University (Turquie)
    The Problems of the Female Wor(l)d in Troilus and Cressida
  8. Agnieszka Szwach, Jan Kochanowski University, Kielce (Pologne)
    All’s Well, That Ends Well: A Problem Play Or A Problematic Heroine?
  9. Jennifer Edwards, Royal Holloway, University of London (Royaume-Uni)
    ‘Bifold authority’: Shakespeare’s Problem Children
  10. Miguel Ramalhete Gomes, University of Porto (Portugal)
    The problem of cynicism in Measure for Measure
  11. Natalia A. Shatalova, Lomonossov Moscow State University (Russie)
    A ‘problem play’: interplay of genre and method
  12. Emine Seda Çağlayan Mazanoğlu, Hacettepe University (Turquie)
    A Problematic Play: Questions, Ambiguity and Human Nature in King Lear

 

Horaire

Mardi 22 avril 2014, 15h30-17h30.

Salle : V115/V116.

 

Plus d’infos

Pour lire les résumés, cliquer ici (en anglais).
 
 

Séminaire 21

Shakespearean Festivals in the 21st Century
 

Organisateurs

Nicoleta Cinpoes (University of Worcester, Royaume-Uni), Florence March (IRCL, University Paul-Valéry Montpellier 3, France), and Paul Prescott, (University of Warwick, Royaume-Uni)
 

Participants

  1. Susan Brock (University of Warwick, Royaume-Uni), Paul Edmondson (Shakespeare Birthplace Trust, Royaume-Uni), and Paul Prescott (University of Warwick, Royaume-Uni)
    Shakespeare on the Road: North American Festivals in 2014
  2. Debra Ann Byrd (Producing Artistic Director, Take Wing And Soar Productions and the Harlem Shakespeare Festival, États-Unis)
    The Harlem Shakespeare Festival
  3. Jean-Claude Carrière (Président du “Printemps des comédiens”) and Florence March (IRCL, University Paul-Valéry Montpellier 3, France)
    Shaping democratic festivals through Shakespeare in the South of France: Avignon and Montpellier
  4. Nicoleta Cinpoes (University of Worcester, Royaume-Uni)
    ‘Everyman’s Shakespeare’: Craiova Shakespeare Festival
  5. Jacek Fabiszak (Adam Mickiewicz University in Poznań, Pologne)
    The Gdansk Shakespeare Festival: A Shakespeare Theatrical Event
  6. Isabel Guerrero Lorente (University of Murcia, Espagne)
    The Almagro Festival and its Shakespearean variety
  7. Ivan Lupic (Stanford University, États-Unis)
    What’s Past is Prologue: Ragusan Shakespeare
  8. Boika Sokolova (University of Notre Dame in London, Royaume-Uni)
    Grassroots Shakespeare: Thirteen Years of Performance in the Village of Patalenitsa, Bulgaria
  9. Erin Sullivan (Shakespeare Institute, University of Birmingham, Royaume-Uni)
    Digital Shakespeare and Festive Time
  10. Patricio Orozco (directeur de Próspero Producciones, Argentine)
    The Shakespeare Festival Buenos Aires
  11. Julia Paraizs (Hungarian Academy of Sciences, Hongrie)
    Shakespeare Festival – Gyula, Hungary

 

Horaire

Mercredi 24 avril 2014, 15h30-17h30.

Salle : L109.

 

Plus d’infos

This international and comparative seminar aims to bring together practitioners, festival staff, actors and directors, performance critics and theatre historians to discuss the recent past, present and future of Shakespearean festivals in Europe, North America and beyond. The seminar will consider festivals focusing exclusively on Shakespeare and festivals in which Shakespeare is significantly involved, drama festivals and arts festivals, experimental festivals which are laboratories for creation and festivals which showcase national or international contemporary artistic creation. Participants are invited to explore the aesthetic, structural, historical and/or socio-political interactions between Shakespeare and the festivals he informs, and the modalities of such interactions.

Pour une liste des questions qui seront évoquées au cours du séminaire, cliquer ici (information en anglais).

 
 

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Venue

The conference will be centred around the Sorbonne, in the heart of the Quartier Latin.

sorbonneThe opening day will be hosted by the Théâtre de l’Odéon.

On following days, the keynote lectures, seminars, panels and workshops will take place in the Sorbonne and the immediate vicinity, at the École des Mines ParisTech.

Registration will be carried out between 8h and 10h30 on Monday April 21, 2014 at the Institut du Monde Anglophone (5 rue de l’École de Médecine, 75005 Paris). The Institut is located between the Théâtre de l’Odéon and the Sorbonne.

Latecomers may register at the Institut until 16h on Monday. To register on Tuesday 22 April or any following day, please proceed to the main conference venue, the École des Mines ParisTech (60 boulevard Saint-Michel 75006 Paris) where you will be able to register every morning starting at 8h.

Additional venues

Additional venues will be added to this page and to the Google Map below, as we confirm dates and locations for social and cultural events.

Public transport

The main conference venue is located near the following stops:

  • Metro: Odéon (lines 4 and 10) or Cluny-la-Sorbonne (line 10)
  • RER: Luxembourg (line B) or Saint-Michel (lines B and C).
  • Bus: 21, 27, 38, 63, 85, 86, 87.

signaletique-transports-parisIf you intend to use public transport every day, it is recommended to purchase 10 tickets at a time (a “carnet”), or a weekly pass (inquire at the ticket booths).

Travelling by air or rail?

Paris has three airports:

  1. Paris Charles de Gaulle (CDG). It takes 45mn to reach Paris from CDG by express train line RER B or by bus (Roissybus). The tickets cost between €7.50 and €11.50. Taxi rides to Paris cost approximately €50.
  2. Paris Orly (ORY). It takes 45mn to reach Paris from ORY by express train line RER B or by bus (Orlybus). The tickets cost between €7.50 and €11.50. Taxi rides to Paris cost approximately €50.
  3. Paris Beauvais (BVA). BVA (Ryanair flights) is 1h30 away from Paris by bus.

Paris has several major train stations, notably: Gare du Nord (for Eurostar and Thalys trains), Gare de l’Est, Gare de Lyon, and Gare Montparnasse. All of these stations are connected to a Metro or RER line going directly to the conference venue.

Map of the area

View Shakespeare 450 in a larger map

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Lieu

Le congrès se tiendra autour de la Sorbonne, au cœur du Quartier Latin.

sorbonneLe premier jour se déroulera au Théâtre de l’Odéon.

Les autres jours, les conférences plénières, séminaires, panels et ateliers auront lieu à la Sorbonne et à l’École des Mines ParisTech.

L’émargement aura lieu le entre 8h et 10h30 le lundi 21 avril 2014 à l’Institut du Monde Anglophone (5 rue de l’École de Médecine, 75005 Paris). L’Institut est situé entre le Théâtre de l’Odéon et la Sorbonne.

Les retardataires pourront émarger à l’Institut jusqu’à 16h le lundi. À partir du mardi 22 avril, rendez-vous dans le lieu du congrès, à l’École des Mines ParisTech (60 boulevard Saint-Michel 75006 Paris), tous les matins à partir de 8h.

Autres lieux

D’autres points seront indiqués sur cette page et sur la carte Google ci-dessous à mesure que les lieux accueillant d’autres événements sont confirmés.

Transports

L’accès au congrès se fera par les stations suivantes :

  • Metro : Odéon (lignes 4 et 10) ou Cluny-la-Sorbonne (ligne 10)
  • RER : Luxembourg (ligne B) ou Saint-Michel (lignes B et C).
  • Autobus : 21, 27, 38, 63, 85, 86, 87.

signaletique-transports-paris

Il est conseillé d’acheter des tickets par carnet, ou un abonnement pour la semaine (renseignez-vous au guichet du métro).

Aéroports et gares

Paris est desservi  par  trois aéroports:

  1. Paris Charles de Gaulle (CDG). Il faut compter 45mn pour atteindre Paris depuis CDG par le RER B ou par bus (Roissybus). Les billets coûtent entre €7.50 et €11.50. Un taxi jusqu’à Paris coûtera environ €50.
  2. Paris Orly (ORY). Il faut compter 45mn pour atteindre Paris depuis ORY par le RER B ou C ou encore par bus (Orlybus). Les billets coûtent entre €7.50 et €11.50. Un taxi jusqu’à Paris coûtera environ €50.
  3. Paris Beauvais (BVA). BVA (vols Ryanair) est à 1h30 de Paris en bus.

Paris est desservi par plusieurs gares, notamment : la Gare du Nord (pour les trains Eurostar et Thalys), la Gare de l’Est, la Gare de Lyon, et la Gare Montparnasse.
Toutes ces gares sont desservies par une ligne de métro ou de RER qui vont directement au lieu du congrès.

Carte des environs


Afficher une carte de Shakespeare 450 de plus grande taille

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Cultural events

During conference week, delegates will be able to attend a large variety of cultural events (see also a yearly calendar of events celebrating Shakespeare).

Some events are by invitation, but will require a free registration, others are paid events, for which delegates can purchase discounted tickets.  In all cases they will need to show their conference badge for access.

For events requiring registration or payment, a limited number of seats are available. Tickets will be issued on a first-come, first-served basis.

Please register online by March 31, 2014 for every event and reception you wish to attend. You will need to show your invitation ticket, conference badge and picture ID to gain access to the receptions.

Exhibitions

Participants can visit the following exhibitions during the week. In some cases, free registration is required as some museums only accept small groups.

Daily programme

  • Monday April 21: Dinner-trip on Bateaux-mouches on the Seine, or pre-screening of Othello, directed by Orson Welles, in a digitally remastered print
  • Tuesday April 22Film-concert, Hamlet, directed by Svend Gade, with an original score by Robin Harris (invitation of the Société Française Shakespeare).
    Due to Patrice Chéreau’s untimely death, the option for Comme il vous plaira, Théâtre de l’Odéon/Ateliers Berthier, is replaced on Thursday April 24 by Tartuffe, directed by Luc Bondy
  • Wednesday April 23: Birthday party, including a piano recital and the reading of excerpts from Lettres à Shakespeare
  • Thursday April 24I Capuleti e i Montecchi, directed by Bruno Campanella, Opéra Bastille; or Shakespeare’s Macbeth, directed by Ariane Mnouchkine, Théâtre du Soleil (Cartoucherie)
  • Friday April 25Les Enfants du Paradis, directed by Marcel Carné, Cinéma Le Louxor; or Giordano Bruno’s Candelaio, directed by Angela Antonini and Paola Traverso
  • Saturday April 26Othello, directed by Léonie Simaga, Comédie française/Théâtre du Vieux-Colombier
  • Sunday April 27: Generaly assembly of the Société Française Shakespeare
    Visit to the crypt of the Basilica of Saint-Denis, and a performance: “Royal Imagery”

Description of events

21 April : Pre-release screening of Othello, dir. Orson Welles

(USA/Italy/Morocco/France, 93’, B&W)

Othello, Orson Welles (1952). © 2013 WESTCHESTER FILMS, INC. All rights reserved.
Othello, Orson Welles (1952). © 2013 WESTCHESTER FILMS, INC. All rights reserved.

A few years after the release of Macbeth in 1948, director Orson Welles (Citizen Kane, Touch of Evil) decided to adapt another play by Shakespeare: Othello. The shooting proved chaotic: the first producer abandoned the project, the film had to be unexpectedly recast and a number of financial problems forced Welles to interrupt shooting several times. The result is a stunning adaptation of Shakespeare’s tragedy. The actor-director, working alongside celebrated decorator Alexandre Trauner, played on the contrasts between light and shadow in each shot of this aesthetically amazing Othello. The film, which was rewarded with the Grand Prix at the Cannes Festival in 1952, has been digitally remastered for this release.

Date: 21 April 2014 at 20:00. Registered participants are invited free to this pre-release screening upon registration (limited seats available).

For other screenings starting April 23, participants may obtain discount tickets (5€) with their conference badge(offer valid for the first 100 tickets).
In partnership with Carlotta Films.

Address:

Le Nouveau Latina
20 rue du Temple
75004 Paris

Métro: Hôtel de Ville (lines 1, 11), Châtelet (lines 1, 4, 7, 11, 14)

22 April : Film-concert : Hamlet , dir. Svend Gade and Heinz Schall

(Germany, 110′, 1921, silent film)

Original score by Robin Harris

Hamlet, Svend Gade, starring Asta Nielsen
Hamlet, Svend Gade, starring Asta Nielsen. © Deutsches Filminstitut, Frankfurt

World premiere of the original score by Robin Harris (2014), commissioned by the Société Française Shakespeare, performed with Laura Anstee

The film will be introduced by Prof. Judith Buchanan (University of York).

Date: 22 April 2014 at 19:30 (duration: 1h50).

Event open to the public, with prior reservation. Conference participants are invited to the premiere upon registration.
To reserve/purchase tickets, please click here.

Address:

Auditorium Saint-Germain
4 rue Félibien
75006 Paris

Métro: Mabillon (line 10), Odéon (line 4)

24 April: I Capuleti et i Montecchi

An opera by Vincenzo Bellini in two acts. Libretto by Felice Romani.

Les Capulet et les MontaiguVenue: Opéra Bastille

When he adapted Romeo and Juliet, the librettist Felice Romani chose to go back in time past Shakespeare, to the Italian origins of the legend. He tightened the storyline, editing out Mercutio, the nurse, the moonlight and the nightingale… The drama becomes more somber, the quarrel between the two families a veritable feud. The music of the two lovers, whose lives are crossed and intertwined, overwhelms the soul and illuminates the world. Under the baton of Bruno Campanella, Ekaterina Siurina and Karine Deshayes lend their voices to the lovers, themselves embraced by Bellini’s intensely dramatic music.

Bruno Campanella Conductor
Robert Carsen Stage director
Michael Levine Sets and costumes
Davy Cunningham Lighting
Alessandro di Stefano Chorus master

Paul Gay Capellio
Ekaterina Siurina Giulietta
Karine Deshayes Romeo
Charles Castronovo Tebaldo
Nahuel di Pierro Lorenzo
Paris Opera Orchestra and Chorus

Address:Logo_OperaParis

Opéra Bastille
120 rue de Lyon
75012 Paris

Métro: Bastille (lines 1, 5 and 8)
RER: Gare de Lyon (lines A and D)
Bus: 20, 29, 65, 69, 76, 86, 87, 91

Dates: April 24, 2014 (opening night performance) at 19:30 (duration: 2:53). A second performance is available on April 26, 2014.

20% discount. This offer is reserved for registered participants to Shakespeare 450 and to members of the Société Française Shakespeare. It is not retroactive and cannot be combined with other offers and is restricted to performances on April 24 and 26, 2014 at 19h30, for 1st category seats.
To purchase tickets, please tick the appropriate box on the registration form. You will receive a promotional code which you will need to book your ticket on the Paris Opera website. Please note that this offer expires January 5th, 2014.

For more information and a video presentation, click here: I Capuleti e i Montecchi – Video presentation.

24 April: Macbeth, William Shakespeare

In French without subtitles.

Directed by Ariane Mnouchkine
Music by Jean-Jacques Lemêtre

Cast of the Théâtre du Soleil, Cartoucherie

Macbeth Cartoucherie

“Evil stands behind the door. You can hear it scream. Macbeth should never had thought of opening the door. Too late strikes like lightning.
Be warned! We think we should never allow the Macbeths to open the door. Evil is ready, lying in wait for just such a moment. Be warned! Evil knows no stop. Are you prepared?”
Hélène Cixous, February 1, 2014

Address:

Cartoucherie de Vincennes
Route du Champ de Manœuvre
75012 Paris

Métro: Château de Vincennes (line 1) then bus 112 or free Cartoucherie shuttle (in French: ‘Navette‘), stationed across the street from the bus terminal

Dates: April 24, 2014 at 19:30 (duration: TBA). A second performance is available on April 26, 2014.

25 April: Les Enfants du Paradis, directed by Marcel Carné

(France, 190′, 1945, with English subtitles.)

Special film screening at the historic Louxor cinema, designed in 1921 by architect Henri Zipcy and recently reopened to the public. The cinema features a neo-Egyptian façade with a mosaic by decorator Amédée Tiberti.

Louxor : Salle Youssef Chahine

In Children of Paradise, Shakespeare is performed on a stage of the Boulevard du crime

enfants-du-paradis-othello

Address:

170 Boulevard de Magenta
75010 Paris

Metro: Barbès-Rochechouart (lines 2 and 4)
Bus: 30, 31, 54, 56, 85
RER: Magenta, Gare du Nord (lines B, D, E)

Date: April 25, 2014 at 19:30. Registered participants will be able to purchase discounted tickets by contacting Sylvie Vanston: sylvie.vanston@wanadoo.fr.

25 April: Candelaio, by Giordano Bruno

In Italian, with French subtitles.

with Angela Antonini
Adapted and directed by Angela Antonini and Paola Traverso
Sound design and editing Paola Traverso
Light design Martin Emanuel Palma
Video Massimo D’Orzi

Candelaio

The Candlemaker (Candelaio) is a five-act comedy written by Italian philosopher, astronomer, and mathematician Giordano Bruno in Paris in 1582. It summarizes Bruno’s philosophical positions through a vivid representation of contemporary society.

In this production the eccentric structure of the play turns into a monologue interpreted by Angela Antonini who plays all the characters, passing from one mask to another, using different voices, clothes, gestures and various Italian dialects (Neapolian, Sicilian, Florentine, Venetian).

Théâtre Les Déchargeurs

3 Rue des Déchargeurs
75001 Paris

Metro: Châtelet (lines 1, 4, 7, 11, 14)
RER: Châtelet / Les Halles (lines A, B, D)

Dates: 25 or 26 April at 19:00. Participants may purchase tickets at the theater or online.

For further details click here : Candelaio (production);  Il Gigante Produzioni (company)

26 April: Othello, by William Shakespeare

In French, without subtitles.

Léonie Simaga Director
Cast of the Comédie Française.

vieux-colombier

Following studies in literature and political science, Leonie Simaga trained at the National Conservatory of Dramatic Art. In 2005, she joined the Comédie-Française, becoming its 520th member in 2010. Her performances include the title role in Kleist’s Penthesilea directed by Jean Liermier, Polly Peachum in Brecht’s Threepenny Opera directed by Laurent Pelly, Hermione in Racine’s Andromache directed by Muriel Mayette-Holtz and Silvia in Marivaux’s Game of Love and Chance directed by Galin Stoev. At the Comédie-Française, she has directed Nathalie Sarraute’s Over Nothing at All and presented a carte blanche event based on Marguerite Yourcenar’s Memoirs of Hadrian. Beyond the themes of jealousy and gullibility, she views Othello as a meditation on this unjustified and permanent hatred of a civilization for individuals condemned to fight their entire lives in order to escape the defamatory label of “negro”.

Venue: Théâtre du Vieux-Colombierlogo-vieuxcolombier

Address:

21 rue du Vieux-Colombier
75006 Paris

Métro: Saint-Sulpice (line 4), Sèvres-Babylone (line 10)

Date: 26 April 2014 at 20:00 (duration: approx. 2h30). Please note that this performance is now *sold out*. You can still purchase tickets for an alternate date, notably for April 30. (May 8 is also sold out.)

Limited discount seats available (23€ instead of 31€). To purchase tickets, please use the conference website. It is recommended to purchase tickets at the moment of registration.

For more information on this performance, click here: Othello, Comédie Française.

Museums

Participants will have the opportunity to visit several exhibitions dedicated to Shakespeare during the week.

Musée Victor Hugo

Hugo, father and son. Photography by T.B. Hutton
Hugo, father and son. Photography by T.B. Hutton

By invitation of the Museum. Scheduled visits for conference delegates.

Victor Hugo lived on the second floor of the Hôtel de Rohan-Guéménée from 1832 to 1848. He wrote some of his major works there: Marie Tudor, Ruy Blas, Les Burgraves, Les Chants du crépuscule, Les Voix intérieures, a large part of Les Misérables, and was visited by Lamartine, Vigny, Dumas and Gautier. The visit of the apartment illustrates the three main stages of his life (before, during and after exile) through the display of his furniture, different memorabilia and some astonishing interior decoration carried out during his exile in Guernesey.

The museum is celebrating the 450th anniversary of Shakespeare’s birth with an exhibition on François-Victor Hugo, one of Shakespeare’s best-known French translators. The life and work of Victor Hugo’s youngest son will be illustrated by paintings, drawings, pictures, as well as by a wealth of manuscript sources and rare books and documents from the museum’s archives. François-Victor’s prefaces to his translations — published by Michel Lévy then by Pagnerre, from 1857 with the Sonnets and from 1859 to 1866 for the plays — also constitute an important contribution to Shakespeare studies. François-Victor Hugo’s work, which comes on the heels of the rediscovery of Shakespeare by the Romantics, supported by his father’s passion for the Bard, was to be prefaced by Victor Hugo’s William Shakespeare. The exhibition will give visitors a glimpse in the life of his son, François-Victor.Musée V Hugo

Maison de Victor Hugo

6 Place des Vosges
75004 Paris

Opening hours during the conference week: 10h-18h, Tue-Sun.

Musée Delacroix

Eugène Delacroix, La mort d'Hamlet après le duel
Eugène Delacroix, La mort d’Hamlet après le duel (The Death of Hamlet after the duel), lithograph, 1834-1843, Paris, Musée Delacroix. RMN-Grand Palais (Musée du Louvre), René-Gabriel Ojéda

Exhibition around William Shakespeare with works from the collection of the Eugène Delacroix museum
April 1-June 30 2014logo-musee-delacroix

www.musee-delacroix.fr

Eugène Delacroix (1798-1863) was a learned artist. An avid reader, he loved music and often went to the theatre. In the 1820s and 1830s, he eagerly followed the changes in French theatrical practice. He was attracted by new notions on play-acting, notably those coming from England, as well as from the posthumous publication of Denis Diderot’s Paradox of Acting, which drew him to compare the abilities and artifice used by actors with the painter’s. In his Journal, an entry of January 1847 reads: ‘A painter must always improvise when he paints, and this is the crucial difference with the actor’s task.’

William Shakespeare and his work hold a special place in Delacroix’s paintings, drawings and engravings. The painter often mentions the English playwright in his Journal, observing how deeply Shakespeare had helped shape English culture: ‘The English are all Shakespeare. He has made them what they are in everything” (April 4, 1849). He also attended a performance of Hamlet in 1827 at the Théâtre de l’Odéon featuring Harriet Smithson, the famous English actress who so impressed Parisian audiences in the part of Ophelia. Delacroix was fascinated with Hamlet, the sensitive and tormented prince. As early as 1825, when he was only 27, he painted the scene of Hamlet and his father’s ghost (Cracow, Muzeum Universytetu Jagiellonskiego). In the early 1830s, he undertook a series of lithographs on Hamlet, in the same vein as his series to illustrate the French translation of Goethe’s Faustus, in 1827. In 1843, Delacroix himself paid for the publication of thirteen of his sixteen drawings. The Delacroix museum is fortunate enough to have all sixteen lithographic stones he used.

On the occasion of the 450th anniversary of Shakespeare’s birth celebrated in Paris, the Eugène Delacroix museum, located in the painter’s last home, where he lived from 1857 until his death in 1863, will show pieces from its collection, including the rarely-shown lithographic stones, as well as printed lithographs. Other Shakespeare-related works will also be exhibited, such as the moving Romeo and Juliet at the tomb of the Capulets.

Registered conference participants will be allowed to visit the museum free of charge.

Address:

6 place de Furstenberg
75006 Paris

Métro : Saint-Germain-des-Prés (line 10) / Mabillon (line 4)
Bus : 39, 63, 70, 86, 95, 96

Opening hours during the conference week: Wednesday to Sunday, 9h30 à 17h00 (doors close at 16h30).

Bibliothèque nationale de France

expo_ete_1914_gdExhibition on the Summer of 1914.

The exhibit discusses in great detail the events from July 23 to August 4, 1914, and the series of diplomatic, political, and military decisions which lead to the outbreak of the World War I.

By invitation of the BnF. Scheduled visits for conference delegates.

Performing Arts Department
A department that preserves and adds to the memory of all forms of performing arts (theatre, circus, mime, dance, etc.)
The department endeavours to store all types of materials produced before, during and after performances: scripts of plays, manuscripts, mock-ups, sets, costumes and objects, photographs, audiovisual materials, posters, drawings and prints, programs and press cuttings, etc., as well as books and reviews. Every expression of live performance is represented in its collections: theatre, circus, dance, puppetry, street, etc., as well as cinema, television, and radio. The department also holds a large number of archive collections and collections from personalities and institutions (theatres, festivals, companies, etc.).Logo_BnF

Address:

Quai François-Mauriac
75706 Paris Cedex 13

Métro: lines 6 (Quai de la gare), 14 and RER C (Bibliothèque François-Mitterrand)
Bus: lines 89, 62, 64, 132 et 325

By invitation of the BnF. Scheduled visits for conference delegates.

Comédie-française

Vue d'en haut sans les fauteuils de l'orchestre © Cosimo Mirco Magliocca, coll. Comédie-Française
Vue d’en haut sans les fauteuils de l’orchestre © Cosimo Mirco Magliocca, coll. Comédie-Française

Backstage visit.

The Comédie-Française was born in the century of Louis XIV — the Sun King — from the centralising passion of a ruler known for his unwavering commitment to the performing arts.

Strengthened by its achievements, its battles and setbacks, armed with its traditions and its boldness, supported by its great actors, guided by its administrators, the three-centuries old Comédie-Française is more than ever passionately committed to live performance and ready to face the perils of the stage.

Backstage visit of the Comédie-Française for conference participants.

Address:

Place du Palais-Royal
75001 Paris

Metro: Palais-Royal / Musée du Louvre (lines 1, 7)

Basilique Saint-Denis

basilique-st-denisThe St Denis basilica is the first monumental masterpiece of Gothic art. Discover the Royal necropolis and its collection of 70 sculpted recumbent statues – the only set of its kind in Europe – bathed in the multi-coloured light of the 12th and 19th-century stained glass windows.

Visit the tombs of Clovis, Charlemagne, Catherine de’ Medici, Henri IV, Louis XIII, Louis XIV, or Henrietta Maria (wife of Charles I), among many others.

1 rue de la Légion d’Honneur
93200 Saint-Denis

Visiting hours: Sunday 12h00 to 17h15

On Sunday 27 April, a special visit of the basilica is scheduled with Serge Santos, head administrator of the Basilica.
The visit will be followed by “Royal Imagery”, a performance by Chantal Schütz and Yan Brailowsky, accompanied by François Bonnet (lute), in the apse of the Basilica.

Métro : line 13, station Basilique de Saint-Denis.

Other social events

  • Dinner trip on bateau-mouche on Monday April 21, 2014. Book online through the conference website. Limited seats available.bateau-moucheAmong a large choice of bateaux-mouche, we have selected two which offer a good price-quality ratio:
    1. If you want a light dinner and hour-long trip on the Seine straight after the day’s work, you can board Paris-en-scène on Quai des Orfèvres from 19:30 (40 €)
    2. If you want a larger meal, longer trip and later departure, you can board Le Calife on quai Malaquais under Passerelle des Arts from 19:45 (67 €)

  • Birthday party, Wednesday April 23, 2014. Location details in welcome pack. (Reserved for registered participants.)

Lettres à ShakespeareThe evening will feature a piano recital and readings from Lettres à Shakespeare, edited by Dominique Goy-Blanquet, published by Editions Thierry Marchaisse, 2014, with letters from: Michèle Audin, Georges Banu, Pierre Bergounioux, Yves Bonnefoy, Hélène Cixous, Jacques Darras, David di Nota, Florence Dupont, Michael Edwards, Robert Ellrodt, Raphaël Enthoven, Jacques Jouet, Michèle Le Dœuff, Alberto Manguel, François Ost, Pierre Pachet.

  • Reception, Saturday April 26, 2014. Location details in welcome pack. (Reserved for registered participants.)

Please remember you need to register online by March 31, 2014 for every event and reception you wish to attend.

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Événements culturels

Pendant la durée du congrès, les participants pourront assister à plusieurs événements (voir également un calendrier annuel des manifestations shakespeariennes).

Certains sont sur invitation, gratuits pour les congressistes mais requérant une inscription préalable, ou payants, pour lesquels les participants inscrits au congrès  pourront bénéficier de billets à tarif réduit. Dans tous les cas ils devront être munis de leur badge pour accéder aux lieux.

Veuillez noter que pour les événements nécessitant une inscription ou un paiement, le nombre de places est limité. Les billets seront attribués aux premiers inscrits.

Nous vous prions de vous inscrire en ligne avant le 31 mars 2014 pour tous les événements et réceptions auxquels vous souhaitez assister. Vous devrez montrer votre carton d’invitation, votre badge et une pièce d’identité avec photographie pour accéder aux lieux des réceptions.

Expositions

Les congressistes pourront visiter les expositions offertes ci-dessous. Dans certains cas, même gratuite, une inscription préalable est nécessaire, plusieurs de ces musées ne pouvant accueillir que des petits groupes de visiteurs.

L’agenda de la semaine

  • Lundi 21 april : promenade dînatoire sur un bateau-mouche ou avant-première de Othello, réalisé par Orson Welles, en version restaurée
  • Mardi 22 avril Film-concert, Hamlet, dir. Svend Gade, composition originale de Robin Harris (invitation de la Société Française Shakespeare).
    A la suite du décès de Patrice Chéreau, les représentations de  Comme il vous plaira, Théâtre de l’Odéon/Ateliers Berthier, sont remplacées le jeudi 24 avril par Tartuffe, mis en scène par Luc Bondy.
  • Mercredi 23 avril : réception d’anniversaire accompagnée d’airs de piano et de lectures d’extraits de Lettres à Shakespeare
  • Jeudi 24 avrilI Capuleti e i Montecchi, dir. Bruno Campanella, Opéra Bastille ou Macbeth, dir. Ariane Mnouchkine, Théâtre du Soleil (Cartoucherie); ou Tartuffe de Molière, dir. Luc Bondy (Odéon – Ateliers Berthier)
  • Vendredi 25 avril: Les Enfants du Paradis, Marcel Carné, Cinéma Louxor, ou  Candelaio de Giordano Bruno, dir. Angela Antonini et Paola Traverso
  • Samedi 26 avrilOthello, dir. Léonie Simaga, Comédie française/Théâtre du Vieux-Colombier
  • Dimanche 27 avril : Assemblée générale de la Société Française Shakespeare
    Visite à la crypte de la Basilique de Saint-Denis, et lecture-concert, “L’imaginaire royal”

Détail des événements

21 avril : avant-première d’Othello, dir. Orson Welles (version restaurée)

(États-Unis/Italie/Maroc/France, 93’, N&B)

Othello, Orson Welles (1952). © 2013 WESTCHESTER FILMS, INC. Tous droits réservés.
Othello, Orson Welles (1952). © 2013 WESTCHESTER FILMS, INC. Tous droits réservés.

Quelque temps après la sortie de Macbeth, le réalisateur américain Orson Welles (Citizen Kane, La Soif du mal) décide d’adapter une nouvelle pièce de Shakespeare, Othello. Le tournage de ce film sera semé d’embûches, entre abandon du producteur initial, changements imprévus de comédiens et difficultés financières contraignant le cinéaste à interrompre plusieurs fois le tournage. Il en résulte une adaptation stupéfiante de la tragédie shakespearienne, d’une grande beauté visuelle : l’acteur-réalisateur, épaulé par le décorateur Alexandre Trauner, magnifie chaque plan de son Othello en jouant sur les contrastes entre ombre et lumière. Le film sera récompensé par le Grand Prix au Festival de Cannes de 1952.

Date: 21 avril 2014 à 20:00. Les congressistes sont invités à l’avant-première sur inscription, dans la limite des places disponibles.

Pour assister aux séances à partir du 23 avril, les congressistes bénéficient d’un tarif préférentiel (5€) en montrant leur badge (offre valable pour les 100 premiers billets).
En partenariat avec Carlotta Films.

Adresse:

Le Nouveau Latina
20 rue du Temple
75004 Paris

Métro: Hôtel de Ville (lignes 1, 11), Châtelet (lignes 1, 4, 7, 11, 14)

22 avril : Film muet en concert : Hamlet de Svend Gade et Heinz Schall

(Allemagne, 110′, 1921, muet)

Musique originale par Robin Harris et Laura Anstee

Hamlet, Svend Gade, avec Asta Nielsen
Hamlet, Svend Gade, avec Asta Nielsen. © Deutsches Filminstitut, Frankfurt


Première mondiale de la composition de Robin Harris (2014), Commande de la Société Française Shakespeare.
Le film sera présenté par le Professeur Judith Buchanan (Université de York, Royaume-Uni).

Date : 22 avril 2014 à 19:30 (durée : 1h50).

Soirée ouverte au public, sur réservation. Les participants au congrès sont invités à cette création, sur inscription.
Pour plus d’informations sur les inscriptions/réservations, cliquer ici.

Adresse :

Auditorium Saint-Germain
4 rue Félibien
75006 Paris

Métro : Mabillon (ligne 10), Odéon (ligne 4)

24 avril : I Capuleti et i Montecchi

Opéra de Vincenzo Bellini en deux actes. Livret de Felice Romani.

Les Capulet et les MontaiguLorsqu’il adapte Roméo et Juliette, le librettiste Felice Romani choisit de remonter, par-delà Shakespeare, aux sources italiennes du mythe. Il resserre l’intrigue, faisant table rase de Mercutio, de la nourrice, du clair de lune et du rossignol… Le drame s’assombrit : la querelle entre les deux familles devient une véritable guerre. Et le chant de ces vies, qui se croisent et s’entremêlent, illumine un instant le monde d’une lumière bouleversante. Sous la direction de Bruno Campanella, Ekaterina Siurina et Karine Deshayes prêtent leurs voix aux amants qu’enveloppe la musique intensément dramatique de Bellini.

Bruno Campanella Direction musicale
Robert Carsen Mise en scène
Michael Levine Décors et costumes
Davy Cunningham Lumières
Alessandro di Stefano Chef de choeur

Paul Gay Capellio
Ekaterina Siurina Giulietta
Karine Deshayes Romeo
Charles Castronovo Tebaldo
Nahuel di Pierro Lorenzo

Orchestre et chœur de l’Opéra de Paris

Lieu : Opéra Bastille

Logo_OperaParisAdresse:

120 rue de Lyon
75012 Paris

Métro: Bastille (lignes 1, 5 et 8)
RER: Gare de Lyon (lignes A et D)
Bus: 20, 29, 65, 69, 76, 86, 87, 91

Dates : 24 avril 2014 (première) à 19:30 (durée avec entracte : 2:53). Une deuxième représentation est prévue le 26 avril 2014.

Réduction de 20%. Offre non rétroactive et non cumulable, réservée aux participants inscrits au congrès Shakespeare 450 et aux membres de la Société Française Shakespeare, valable sur les représentations des 24 et 26 avril 2014 à 19h30, et limitée à un contingent de places de la première catégorie.
Pour acheter des places, cochez la case correspondante sur le formulaire d’inscription. Vous recevrez alors un code promotionnel qui vous permettra d’acheter votre billet sur le site de l’Opéra de Paris. Cette offre est valable jusqu’au 5 janvier 2014.

Pour plus d’informations et une présentation vidéo, cliquer ici : I Capuleti e i Montecchi – Video presentation.

April 24: Macbeth, de William Shakespeare

Mise en scène Ariane Mnouchkine
Musique Jean-Jacques Lemêtre

Troupe du Théâtre du Soleil, Cartoucherie

Macbeth Cartoucherie

L’irréparable
« Mais qu’est-ce qui est arrivé au grand Macbeth, ce général victorieux à la carrière brillante ? Un bel homme, aimé des siens, respecté, admiré, comblé d’honneurs mérités, salué par le roi. Il avait tout pour être heureux. Une femme aimante, distinguée comme une noble romaine. Un château magnifique. Et quel beau paysage ! Tout lui souriait.
[…]
Le mal est juste derrière la porte. Vous l’entendez hurler. Macbeth n’aurait jamais dû penser à ouvrir la porte. Trop tard frappe comme la foudre.
Attention ! Nous ne devrions jamais laisser les Macbeth ouvrir la porte, pensons-nous. Le mal est prêt. Il n’attend que cet instant. Attention ! Le mal est sans arrêt. Vous êtes prévenus ? »
Hélène Cixous, 1er février 2014

Adresse:

Cartoucherie de Vincennes
Route du Champ de Manœuvre
75012 Paris

Métro: Château de Vincennes (line 1) puis bus 112 ou navette gratuite de la Cartoucherie

Dates: 24 avril 2014 à 19:30 (durée: NC). Une autre représentation est prévue le 26 avril 2014.

25 avril : Les Enfants du Paradis, réalisé par Marcel Carné

(France, 190′, 1945, version sous-titrée en anglais.)

Projection exceptionnelle au cinéma Louxor, construit en 1921 par l’architecte Henri Zipcy et récemment réouvert au public. Le cinéma possède une façade en style néo-égyptien avec une mosaïque d’Amédée Tiberti.

Louxor : Salle Youssef Chahine

Les Enfants du Paradis, où Shakespeare se glisse de la scène au Boulevard du crime sous le manteau de Lacenaire…

enfants-du-paradis-othello

Adresse:

170 Boulevard de Magenta
75010 Paris

Metro: Barbès-Rochechouart (lignes 2 et 4)
Bus: 30, 31, 54, 56, 85
RER: Magenta, Gare du Nord (lignes B, D, E)

Date: 25 avril 25, 2014 à 19h30. Les congressistes pourront acheter des billets à tarif préférentiel en contactant Sylvie Vanston: sylvie.vanston@wanadoo.fr.

25 avril : Candelaio, de Giordano Bruno

En italien, sous-titres en français.

avec Angela Antonini
Adaptation et mise en scène Angela Antonini et Paola Traverso
Son et montage Paola Traverso
Lumières Martin Emanuel Palma
Video Massimo D’Orzi

Candelaio

Il Candelaio, publié à Paris en 1582 est l’unique pièce théâtrale écrite par le grand philosophe libre-penseur lors de son séjour à Paris. Une satire poétique et féroce sur le “monde renversé” de son temps. Angela Antonini et Paola Traverso ont mis en œuvre une dramaturgie toute spéciale.

L’actrice apparait d’abord comme une ombre chinoise puis sous différents costumes, chapeaux et vêtements. Elle joue à elle seule tous les personnages, une multitude de voix bruniennes qui changent tout au long de la représentation. On parle dans les nombreaux dialectes italiens (napolitain, sicilien, florentin, vénitien), un jonglage de mots que l’on peut suivre facilement grâce aussi aux surtitres en français.

Théâtre Les Déchargeurs

3 Rue des Déchargeurs
75001 Paris

Métro: Châtelet (lignes 1, 4, 7, 11, 14)
RER: Châtelet / Les Halles (lignes A, B, D)

Dates: 25 ou 26 avril à 19:00. Les congressistes peuvent acheter des billets au théâtre ou en ligne.

Pour plus d’informations, cliquer ici : Candelaio ; la compagnie Il Gigante Produzioni

26 avril : Othello, de William Shakespeare


vieux-colombierLéonie Simaga
Mise en scène
Troupe de la Comédie Française.

Lieu : Théâtre du Vieux-Colombierlogo-vieuxcolombier

Adresse:

21 rue du Vieux-Colombier
75006 Paris

Métro : Saint-Sulpice, Sèvres-Babylone

Date: 26 avril 2014 à 20:00 (durée : 2h30). Cette séance est à présent *complète*. Vous pouvez néanmoins acheter des billets pour le 8 mai.

Les congressistes disposent d’un nombre limité de places à tarif préférentiel (23€ au lieu de 31€). Pour acheter des places, utilisez le site du congrès. Il est conseillé de faire cet achat au moment de l’inscription.

Pour plus d’informations, cliquer ici : Othello, Comédie Française.

Musées

Les congressistes auront l’occasion de visiter plusieurs expositions dédiées à Shakespeare pendant la semaine.

Musée Victor Hugo

Hugo, père et fils. Photographie de T.B. Hutton
Hugo, père et fils. Photographie de T.B. Hutton

Sur invitation du Musée. Des visites guidées sont prévues pour les congressistes.

Victor Hugo a occupé le second étage de l’Hôtel de Rohan-Guéménée de 1832 à 1848. C’est là qu’il a écrit plusieurs de ses œuvres : Marie Tudor, Ruy Blas, Les Burgraves, Les Chants du crépuscule, Les Voix intérieures, une grande partie des  Misérables, et c’est là qu’il recevait Lamartine, Vigny, Dumas et Gautier. La visite de l’appartement illustre les trois principales étapes de sa vie (avant, pendant et après l’exil) par les meubles exposés, divers memorabilia, et une étonnante décoration intérieure exécutée pendant son exil à Guernesey.

Le musée s’associe aux célébrations du 450ème anniversaire de William Shakespeare avec un format de poche consacré à François-Victor Hugo, qui reste l’un de ses plus grands traducteurs français. La figure et l’œuvre du plus jeune fils de Victor Hugo seront évoquées à travers la riche iconographie (peintures, dessins, photographies…) et l’important fonds de manuscrits ainsi que de nombreux documents et livres précieux que conserve le musée, dont beaucoup sont inédits ou rarement exposés.

Les traductions de François-Victor publiées chez Michel Lévy puis chez Pagnerre, en 1857 pour les Sonnets et de 1859 à 1866 pour le théâtre, constituent aussi, par les introductions dont il les accompagne, une étape importante des études shakespeariennes. Aboutissement de la réactualisation de Shakespeare par les romantiques, et appuyé sur la passion de son père pour le dramaturge, ce travail colossal est aussi à l’origine de ce texte majeur qu’est le William Shakespeare de Victor Hugo qui devait à l’origine lui servir de préface. C’est la très attachante personnalité de François Victor Hugo que l’on s’appliquera ainsi à faire revivre à travers l’hommage rendu à Shakespeare.Musée V Hugo

Maison de Victor Hugo

6 Place des Vosges
75004 Paris

Heures d’ouverture pendant la semaine du congrès : 10h-18h, du mardi au dimanche.

Musée national Eugène Delacroix

Eugène Delacroix, « le plus légitime des fils de Shakespeare »

Eugène Delacroix, La mort d'Hamlet après le duel
Eugène Delacroix, La mort d’Hamlet après le duel, lithographie, 1834-1843, Paris, Musée Delacroix. RMN-Grand Palais (Musée du Louvre), René-Gabriel Ojéda.

Accrochage de la collection du musée Eugène Delacroix autour de William Shakespeare
1er avril-30 juin 2014

Eugène Delacroix (1798-1863) fut un artiste cultivé. Grand lecteur, il fut également un mélomane averti et un spectateur de théâtre attentif. Il fut ainsi, au cours des années 1820 et 1830, curieux des enjeux du renouveau de la scène théâtrale française. Les théories nouvelles autour du jeu de l’acteur, venues notamment d’Angleterre, mais aussi soutenues par la parution, bien posthume, du Paradoxe sur le comédien de Denis Diderot, retinrent son intérêt. Il ne manqua d’en comparer l’habileté et les artifices avec ceux du peintre. « L’exécution dans la peinture doit toujours tenir de l’improvisation, et c’est en ceci qu’est la différence capitale avec celle du comédien. », écrivit-il dans son Journal en janvier 1847.

William Shakespeare et ses œuvres tinrent une place particulière dans sa création picturale, dessinée et gravée. Il évoqua souvent le dramaturge anglais dans son Journal ; écrivant ainsi combien les œuvres shakespeariennes avaient façonné la culture anglaise : « Les Anglais sont tout Shakespeare. Il les a presque faits tout ce qu’ils sont en tout » (4 avril 1849). Il avait, ainsi, assisté en septembre 1827 à l’une des représentations de Hamlet au théâtre de l’Odéon avec, dans le rôle d’Ophélie, la célèbre actrice anglaise Harriet Smithson, dont l’interprétation impressionna tant le public parisien. La fascination de Delacroix pour la figure d’Hamlet, prince tourmenté et sensible, fut profonde. Dès 1825, à peine âgé de vingt-sept ans, il peignit la scène de Hamlet et le spectre de son père (Cracovie, Muzeum Universytetu Jagiellonskiego). Dès le début des années 1830, il eut l’idée de consacrer à Hamlet une suite de lithographies dédiées au héros shakespearien, à l’image de ce qu’il avait réalisé pour illustrer la traduction française du Faust de Goethe, en 1827. Ce n’est qu’en 1843 que furent publiées, à compte d’auteur, treize planches sur les seize exécutées.

Le musée Delacroix a la grande chance de conserver l’ensemble des pierres lithographiques dessinées par le peintre.

A l’occasion du 450ème anniversaire de la naissance de William Shakespeare, célébré à Paris, le musée Eugène Delacroix, installé dans le dernier appartement et atelier du peintre, où il s’installa en 1857 et où il mourut en 1863, organisera un accrochage de sa collection, présentant ces pierres lithographiques, rarement exposées, ainsi que les lithographies qui en sont issues. Seront aussi exposées les autres œuvres du musée liées à Shakespeare, notamment le très émouvant Roméo et Juliette au tombeau des Capulet. L’accès au musée sera, exceptionnellement, accessible gratuitement aux congressistes.

www.musee-delacroix.frlogo-musee-delacroix

Adresse :

6 place de Furstenberg
75006 Paris

Métro : Saint-Germain-des-Prés (ligne 10) / Mabillon (ligne 4)
Bus : 39, 63, 70, 86, 95, 96
Tél : 01 44 41 86 59

Heures d’ouverture pendant la semaine du congrès : du mercredi au dimanche, 9h30 à 17h00 (les portes ferment à 16h30).).

Bibliothèque nationale de France

expo_ete_1914_gdExposition Été 14 : les derniers jours de l’ancien monde.

Le parcours de l’exposition s’organise autour de la chronologie resserrée des évènements du 23 juillet au 4 août 1914 et l’enchaînement des décisions diplomatiques, politiques et militaires qui aboutissent à la conflagration générale.

Visite sur rendez-vous pour les congressistes.

Département des Arts du spectacle

Le département s’attache à conserver tous types de documents produits avant, pendant et après la représentation: textes dramatiques, manuscrits, maquettes, décors, costumes et objets, photographies, documents audiovisuels, affiches, dessins et gravures, programmes et coupures de presse, ainsi que des livres et des revues. Toutes les expressions du spectacle vivant sont représentées dans les collections : théâtre, cirque, danse, marionnettes, spectacles de rue…ainsi que le cinéma, la télévision et la radio. En outre, le département conserve de très nombreux fonds d’archives et collections de personnalités et d’institutions (salles de spectacle, festivals, compagnies).

Logo_BnFAdresse:

Quai François-Mauriac
75706 Paris Cedex 13

Métro: lignes 6 (Quai de la gare), 14 et RER C (Bibliothèque François-Mitterrand)
Bus: lignes 89, 62, 64, 132 et 325

Comédie-française

Tour des coulisses

Visite sur rendez-vous pour les congressistes.

Basilique Saint-Denis

basilique-st-denisLa basilique Saint-Denis est le premier chef d’œuvre monumental d’art gothique. Vous pourrez visiter la nécropole royale et ses 70 effigies funèbres  — collection unique en Europe — baignées par la lumière multicoloure des vitraux du XIIe et du XIXe siècles.

Vous découvrirez parmi d’autres les tombeaux de Clovis, Charlemagne, Catherine de’ Medici, Henri IV, Louis XIII, Louis XIV, ou d’Henriette Marie (épouse de Charles I).

Addresse :

1 rue de la Légion d’Honneur
93200 Saint-Denis

Heures de visite : dimanche 12h00 à 17h15

Le dimanche 27 avril, une visite spéciale de la basilique sera conduite par Serge Santos, administrateur de la Basilique.
La visite sera suivie d’une lecture-concert dans le chevet de la basilique, « L’imaginaire royal », par Chantal Schütz et Yan Brailowsky, avec le luthiste François Bonnet.

Métro : line 13, station Basilique de Saint-Denis.

Autres événements

  • Dîner sur un bateau-mouche le lundi 21 avril 2014. Réservez en ligne sur le site du congrès. Nombre de places limité.

    bateau-mouche

    Parmi un grand choix de bateaux-mouche nous en avons sélectionné deux qui offrent un bon rapport qualité/prix:

    1. Si vous souhaitez un dîner léger et une promenade d’une heure sur la Seine à la sortie de l’Odéon, vous pourrez embarquer sur le  Paris-en-scène au quai des Orfèvres à partir de 19h30 (40 €)
    2. Si vous souhaitez un repas plus copieux, une promenade plus longue et un départ plus tardifs, vous embarquerez sur  Le Calife au quai Malaquais sous la passerelle des Arts à partir de 19h45 (67 €)

  • Soirée d’anniversaire, mercredi 23 avril 2014. Lieu précisé dans les packs d’accueil. (Réservée aux congressistes.)

Lettres à ShakespeareLa soirée sera accompagnée d’airs de piano et de lectures d’extraits de Lettres à Shakespeare, sous la direction de Dominique Goy-Blanquet, publié aux Editions Thierry Marchaisse, 2014, avec des lettres de : Michèle Audin, Georges Banu, Pierre Bergougnioux, Yves Bonnefoy, Hélène Cixous, Jacques Darras, David di Nota, Florence Dupont, Michael Edwards, Robert Ellrodt, Raphaël Enthoven, Jacques Jouet, Michèle Le Dœuff, Alberto Manguel, François Ost, Pierre Pachet.

  • Réception, samedi 26 avril 2014. Lieu précisé dans les packs d’accueil. (Réservée aux congressistes.)

Merci de bien noter qu’il vous faudra vous inscrire en ligne avant le 31 mars 2014 pour tous les événements et réceptions auxquels vous souhaitez assister.

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Hamlet Paypal

Pour acheter votre billet pour Hamlet avec Paypal ou carte bancaire, veuillez choisir votre tarif ci-dessous. Vous serez envoyés vers le site Paypal pour effectuer votre achat.


Tarif




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Hamlet tickets

HAMLET (cinéma muet en concert): 22 avril, 19h30

à l’Auditorium Saint-Germain, 4 rue Félibien, 75006 Paris
Métro : Mabillon (ligne 10), Odéon (ligne 4)

Hamlet, Svend Gade, avec Asta Nielsen
Hamlet, Svend Gade, avec Asta Nielsen ©Deutsches Filminstitut, Frankfurt.

Réalisation: Svend Gade et Heinz Schall (Allemagne, 110′, 1921, muet)

Première mondiale de la composition de Robin Harris et Laura Anstee (2014). Commande de la Société Française Shakespeare.

Le film sera présenté par le Professeur Judith Buchanan (Université de York, Royaume-Uni).

Soirée ouverte au public, sur réservation auprès de sylvie.vanston@wanadoo.fr (paiement par chèque).

Tarifs :

  • plein tarif : 10€
  • tarif réduit (moins de 26 ans et demandeurs d’emploi) : 5€
  • gratuité pour les moins de 18 ans

Les participants à « Shakespeare 450 » sont invités à cette création sur inscription auprès de sylvie.vanston@wanadoo.fr, ou après avoir coché la case correspondante au moment de leur inscription au congrès.

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Hamlet: purchase tickets

HAMLET (silent movie and concert): 22 April, 19h30

at the Auditorium Saint-Germain, 4 rue Félibien, 75006 Paris
Métro : Mabillon (line 10), Odéon (line 4)

Hamlet, Svend Gade, with Asta Nielsen
Hamlet, Svend Gade, with Asta Nielsen ©Deutsches Filminstitut, Frankfurt.

Directors: Svend Gade et Heinz Schall (Germany, 110′, 1921, silent film)

World premiere of the original score by Robin Harris and Laura Anstee (2014), commissioned by the Société Française Shakespeare

The film will be introduced by Prof. Judith Buchanan (University of York).

Event open to the public, with prior reservation by contacting: sylvie.vanston@wanadoo.fr (payment by French cheque).

Tickets :

  • regular : 10€
  • concessions (under 26 and unemployed) : 5€
  • free for those under 18

Registered participants to the ‘Shakespeare 450’ conference are invited to this premiere after sending a message to sylvie.vanston@wanadoo.fr, or after ticking the appropriate box at the moment of registration.

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Agenda

Conference calendar and deadlines:

[google-calendar-events id=”2″ type=”list-grouped”]

Cultural events during the year:

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Agenda

Calendrier du congrès :

[google-calendar-events id=”3″ type=”list-grouped”]

Événements culturels de l’année 2014 :

Hamlet, dir. Dan Jemmet, Comédie-française, salle Richelieu, 7 oct. 2013-12 janv. 2014

Henry VI, dir. Thomas Jolly, Les Gémeaux, Sceaux, 10-22 janvier

Le Songe d’une nuit d’été, dir. Muriel Mayette, Comédie-française, 8 février-15 juin

Hamlet, dir. David Bobée, Les Gémeaux, Sceaux, 4-9 mars

Comme il vous plaira, dir. Patrice Chéreau, Odéon/Ateliers Berthier, 14 mars-1er juin

Lear, conte à rebours, dir. Philippe Dormoy, Théâtre de l’Épée de Bois, 1-13 avril

Purcell, The Tempest, dir. Philip Pickett, Cité de la Musique, 2 avril

Othello, dir. Léonie Simaga, Comédie-française, Vieux-Colombier, 23 avril-1er juin

Bellini, I Capuletti e i Montecchi, dir. Bruno Campanella, Opéra Bastille, 24 et 26 avril

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Form

Click on Event Name for description/registration
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Formulaire

Click on Event Name for description/registration
EVENTSTART-END

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Welcome!

The Société Française Shakespeare is organizing a week-long conference in Paris, 21-27 April 2014,  to celebrate the 450th anniversary of Shakespeare’s birth.

logo_Shake 450_teteseule

The programme includes plenary lectures, roundtables, workshops, seminars, panels, along with performances at various venues, theatres, concert halls, museums, libraries, artists’ studios and bookshops.

On this site, you will find information about the conference programme and schedule; the different venuesaccommodation; cultural and social events; and how to register for the conference.

This conference is supported by sponsors listed below.

Download the Shakespeare450 press release.

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Bienvenue

La Société Française Shakespeare organise à Paris un congrès d’une semaine, du 21 au 27 avril 2014, pour célébrer le 450e anniversaire de la naissance de Shakespeare.

logo_Shake 450_teteseuleLe programme comporte des conférences plénières, tables rondes, ateliers, séminaires, débats, des performances et expositions dans divers lieux, théâtres, salles de concert, musées, bibliothèques, librairies, studios d’artistes.

Vous trouverez sur ce site des informations sur le programme du congrès ; sur les différents lieux ; le logement ; et comment vous inscrire.

Le colloque est organisé avec le parrainage du ministère de la Culture et de la Communication et soutenu par les partenaires indiqués ci-dessous.

Téléchargez le Dossier de presse.

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Accommodation

hotel-room-paris

In the Quartier Latin, you can find a number of small old-style hotels. Larger chain hotels can be found in the nearby Palais Royal, Châtelet and Montparnasse areas. Prices range from low-budget (eg. Ibis) to medium and medium-high (eg. Novotel, Mercure, Best Western, Pullman, Sofitel hotels) to luxury (eg. Hôtel du Louvre). You can also get bargain rates at Accor Hotels.

A few hotels offer a limited number of rooms at reduced prices to conference delegates. If you wish to reserve one, please contact sylvie.vanston@wanadoo.fr

Another option is to book a holiday flat – you might be able to share with other delegates. Here are a few of the many companies offering such accommodation:

We recommend that you search several travel websites, and compare prices,  to find a hotel fitting your taste and means:

The Paris Info website has lots of useful links.

The main conference venue is located between the following stops (see also map below):

  • Metro: Odéon (lines 4 and 10) or Cluny-la-Sorbonne (line 10)
  • RER: Luxembourg (line B) or Saint-Michel (lines B and C).

Please note that you need not search for a hotel too close to the conference venue, as any hotel located within Paris will be no more than 15-30 mn from the venue by public transport.

We recommend that you book early to secure an affordable room. Paris welcomes millions of tourists every year and the conference will take place during the French Easter holidays.


View Shakespeare 450 in a larger map

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Logement

hotel-room-parisVous trouverez de nombreux petits hôtels à l’ancienne au Quartier Latin. Et des chaînes d’hôtels plus grands dans les environs, Palais Royal, Châtelet, Montparnasse, avec des gammes de prix modestes (par ex. Ibis) moyens ou plus élevés (par ex. les hotels NovotelMercure, Best Western, Pullman, Sofitel), ou en catégorie de luxe (l’Hôtel du Louvre). Vous pouvez aussi trouver des offres intéressantes dans les Hôtels Accor.

Quelques hôtels offrent un nombre limité de chambres à des prix réduits aux congressistes. Si vous souhaitez en réserver une, contactez sylvie.vanston@wanadoo.fr

Nous vous recommandons de chercher un hôtel qui satisfasse vos besoins et vos moyens en consultant plusieurs sites internet:

Le lieu principal du congrès est près des stations suivantes:

  • Metro: Odéon (lignes 4 et 10) ou Cluny-la-Sorbonne (ligne 10)
  • RER: Luxembourg (ligne B) ou Saint-Michel (lignes B et C).

IL n’est pas indispensable de réserver dans le centre si vous souhaitez des tarifs plus bas, tout hôtel près d’une station de métro ou de RER dans Paris intra-muros sera vraisemblablement à moins de 15-30 mn du lieu du congrès.

Nous vous conseillons de réserver sans trop tarder, car Paris accueille des millions de touristes chaque année, et le congrès coïncidera avec les vacances de Pâques scolaires en France.


Afficher la carte Shakespeare 450 à plus grande échelle

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Payment

Failure - please retry!
Please check your registration confirmation email for payment information. Click the link provided in the registration confirmation email.

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Paiement

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Please check your registration confirmation email for payment information. Click the link provided in the registration confirmation email.

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Registration

Early fee: until January 15, 2014 Late fee: after January 16, 2014
Normal EUR 150 EUR 190
Member of Société Française Shakespeare1 EUR 100 EUR 140
Student EUR 50 EUR 60
Accompanying person2 EUR 50 EUR 80

Registration fee includes:

  1. admission to the academic programme (panels, seminars, workshops)
  2. invitations to the conference social events (cocktail parties, opening day buffet…)
  3. coffee/tea breaks
  4. conference materials
  5. welcome packet
  6. invitations to various exhibitions and backstage tours
  7.  discount rates for cultural events during the conference (opera and theatre tickets).

After submitting the completed form you will be provided with automatic e-mail confirmation that submission was successful. In a second stage, you must pay the registration fee. You will receive a Letter of Confirmation of the Registration from the conference organisers only after the registration fee is paid.

Cancellations

Please note that all fees are non-refundable.

If you are unable to attend the conference for any reason, you will have the opportunity to send a colleague in your place. The conference organisers must be notified in writing about any name change.

Modes of Payment

You will be able to pay by cheque only if you have a French bank account in France. In this case, do not include the sales tax. For more details, see this page in French.

For all other accounts or payments, please use Paypal or your credit card via Paypal. A ‘Sales Tax’ is added to cover Paypal processing fees.

Registration Desk

Registration will begin on opening day at the Institut d’Etudes Anglophones. On following days, registration will continue at the main conference venue. See VENUES for more details.

Cultural and social events

When you click on ‘Shakespeare 450‘ on the registration form, you can register to the conference and book tickets for the social and cultural events.

As reduced tickets for cultural events are limited, it is highly recommended to book tickets at the moment of registration.

If you register without booking tickets for the cultural events and later change your mind, please use the link entitled ‘Theatre’ on the registration form. You will need to re-enter your personal details. This option is not the same as the conference registration. It is also reserved for participants who have already paid their registration fee.

REGISTRATION CLOSED.

  1. Société Française Shakespeare discount: to qualify for this reduced fee, participants must have paid a full membership to the Société Française Shakespeare (45 €). To become a member, click here. []
  2. Accompanying person: accompanying persons have the same benefits as a registered participant, except admission to the seminars, panels and workshops. Accompanying persons (‘Attendee #2) must be registered by the person they accompany (‘Attendee #1’). []

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Inscription

Frais d’inscription anticipée: jusqu’au 15 janvier 2014 Frais d’inscription: à partir du 16 janvier 2014
Normal EUR 150 EUR 190
Membre de la Société Française Shakespeare1 EUR 100 EUR 140
Étudiant(e) EUR 50 EUR 60
Accompagnateur ou accompagnatrice2 EUR 50 EUR 80

Les frais d’inscription couvrent :

  1. la participation aux conférences plénières, séminaires, panels et ateliers
  2. une invitation aux rencontres et réceptions offertes
  3. les pauses café/thé
  4. les documents du congrès
  5. une pochette d’accueil
  6. des invitations à plusieurs musées et dans les coulisses de la Comédie-française
  7. des tarifs préférentiels pour divers événements culturels pendant le congrès (opéra, théâtre).

Le formulaire d’inscription est en anglais. Vous devez indiquer vos adresses personnelle et professionnelle en remplissant tous les champs (dans le champ ‘State’, indiquez une seconde fois votre ville, par exemple). Pour les questions auxquelles vous devez répondre oui/non, un descriptif en français apparaît quand vous  les survolez avec votre souris. Si vous avez besoin d’aide, contactez-nous.

Après avoir soumis votre formulaire, vous recevrez un message automatique de confirmation. Une fois les frais d’inscription payés, vous recevrez une Lettre de Confirmation des organisateurs du congrès.

Annulation

Les frais d’inscription ne sont pas remboursables.

Si vous ne pouvez pas assister au congrès, vous pouvez envoyer un collègue à votre place. Vous devrez alors prévenir les organisateurs du changement de nom.

Modalités de paiement

Si vous disposez d’un compte bancaire en France, nous vous conseillons de payer par chèque afin d’éviter des frais de dossier. Inscrivez-vous en suivant le lien ci-dessous et notez le montant dû hors taxe (i.e. sans ‘sales tax’). Envoyez votre chèque avec ce montant H.T. à l’ordre de la «Trésorière de la Société Française Shakespeare», à Chantal Schütz, 22 rue Saint-Sauveur, 75002 Paris, en précisant clairement au dos du chèque votre nom, votre identifiant (ID) et l’email utilisé pour vous inscrire.

Pour tout autre type de compte ou de paiement, utilisez Paypal ou une carte de crédit via Paypal. Une taxe (‘Sales Tax’) est ajoutée pour couvrir les frais de gestion de Paypal.

Émargement

L’émargement pour les participants inscrits ouvrira le premier jour à l’Institut d’Études Anglophones, 5 rue de l’École de Médecine. Les jours suivants, vous pourrez récupérer votre badge et votre pochette d’accueil sur le lieu principal du congrès. Consultez la page consacré aux LIEUX pour plus d’informations.

Événements culturels

En cliquant sur l’optionShakespeare 450 sur la fiche d’inscription, vous pouvez vous inscrire au congrès et acheter des billets pour les nombreux événements culturels proposés du 21 au 27 avril 2014.

Dans la mesure où les billets à tarif réduit sont en nombre limité, il est vivement recommandé de réserver vos places au moment de l’inscription.

Si, toutefois, vous vous êtes inscrit(e) au congrès sans acheter de billets pour les événements culturels et vous changez d’avis, cliquez sur le lien ‘Theatre’ sur le formulaire d’inscription. Il vous faudra alors renseigner à nouveau toutes les données vous concernant. Cette option ne vaut pas inscription au congrès. Elle est réservée, en outre, aux congressistes ayant déjà acquitté leurs droits d’inscription.

INSCRIPTION CLOSE.

  1. Membres de la Société Française Shakespeare : pour bénéficier de la réduction réservée aux membres de la SFS, vous devez être à jour de votre cotisation au tarif plein  (45€). Pour adhérer, cliquez ici. []
  2. Accompagnateur ou accompagnatrice : il/elle dispose des mêmes avantages que la personne inscrite, à l’exception du droit d’accès aux séminaires, panels et ateliers. L’accompagnateur ou accompagnatrice (‘Attendee #2) doit être inscrit(e) par la personne qu’il/elle accompagne (‘Attendee #1’). []

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