Organisateurs
Sarah HatchuelGRIC, 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
- Delilah Bermudez Brataas, Sør-Trøndelag University College (Norvège)
“Most Majestic” or “Baseless Fabric”: The Alternating Utopic (re)Visions of The Tempest - Victoria Bladen, The University of Queensland (Australie)
Screen Magic in Peter Greenaway’s Prospero’s Books (1991) and Julie Taymor’s The Tempest (2010) - Anne-Marie Cornède, Université Paris Descartes (France)
Prospero, Ariel, Caliban: Master and Servants or Power at Stake in Tempest on Screen - Sam Crowl, Ohio University (États-Unis)
Transformation and Adaptation in Julie Taymor’s The Tempest - 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 - Kinga Földváry, Pázmány Péter Catholic University (Hongrie)
Ghost Towns and Alien Planets: Variations on Prospero’s Island in Screen Versions of The Tempest - 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 - Russell Jackson, University of Birmingham (Royaume-Uni)
Home and Colonial: the Tempest films of Jarman, Taymor and Mazursky - Randy Laist, Goodwin College (États-Unis)
Hyperreality and the Western Imagination in Prospero’s Books - Courtney Lehmann, University of the Pacific (États-Unis)
A Fine Romance: Prospera and the Work of Art in the Age of Biocybernetic Reproduction - Maddalena Pennacchia, Roma Tre University (Italie)
Puppetry on Screen: The Tempest and The Winter’s Tale in The Animated Tales from Shakespeare - Lindsay Reid, the National University of Ireland, Galway (Irlande)
“This Fierce Abridgement”: Thanhouser’s Two-Reel Cymbeline (1913) and the Question of Genre - Edel Semple, University College Cork (Irlande)
Looking at Good Daughters and Bad Mothers: Women in the BBC Shakespeare Series’ Pericles - Peter J. Smith, University of Nottingham Trent (Royaume-Uni)
“Something Rich and Strange”: Jarman and Greenaway and the defamiliarisation of The Tempest - Bob White, University of Western Australia (Australie)
Elijah Moshinsky’s Television Cymbeline - John Wyver, University of Westminster/Illuminations (Royaume-Uni)
Scenes from Cymbeline and the language of the early television studio
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.
Participants
- Chiara Battisti, University of Verona (Italie)
Richard III and disability studies - 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 - John F. Maune, Hokusei Gakuen University (Japon)
With Love’s Light Wings: Romeo and Juliet in a Life Science Classroom - Nahid Mohammadi, Alzahra University (Iran)
The Ecology of Human and Nonhuman Nature in Shakespeare: A Reading of Four Elements - Rachel Rodman, Durham, NC (États-Unis)
Biology through Shakespeare - Lauren Shohet, Villanova University (États-Unis)
Floral Networks - Michael A. Winkelman, Owens Tech (États-Unis)
‘To Preserve This Vessel’: Jealousy, Evolution, and Othello
Organisateurs
Paola Pugliatti, University of Florence (Italie) et William Leahy, Brunel University London (Royaume-Uni)Participants
- Christy Desmet, University of Georgia (États-Unis)
If the Style is the Man, Who Wrote Hamlet Q1? - Jeffrey Kahan, University of La Verne (États-Unis)
“I tell you what mine author says”: A Brief History of Stylometrics - William Lehay, Brunel University, London (Royaume-Uni)
Shakespearean Biography: Too Much Information (but not about Shakespeare) - John V. Nance, Florida State University (États-Unis)
Defining Co-authorship in Shakespeare’s Early Canon - Donatella Pallotti, University of Florence (Italie)
Issues of (Collaborative) Authorship in Shakespeare’s Poems - Robert Sawyer, East Tennessee State University (États-Unis)
‘Fabricated Lives’: Shakespearean Collaboration in Fictional Forms - Gary Taylor, Florida State University (États-Unis)
Faking It: Imitating Shakespeare in Double Falsehood and Cardenio
Participants
- Terri Bourus, Indiana University-Purdue University Indianapolis (États-Unis)
Shakespeare’s Early Hamlet - Rob Carson, Hobart and William Smith Colleges (États-Unis)
Shakespeare and the Queen’s Men - Fran X. Connor, Wichita State University (États-Unis)
Richard Field and Venus and Adonis - Hugh Craig, University of Newcastle (Australie)
Cliques, networks and nodes: affinity and distinctiveness in early Shakespeare - Gabriel Egan, De Montfort University (Royaume-Uni)
The Date and Authorship of The Two Gentlemen of Verona - MacDonald Jackson, University of Auckland (Nouvelle Zélande)
Arden of Faversham and Shakespeare’s Early Collaborations - John Jowett, Shakespeare Institute (Royaume-Uni)
Reconstruction or Collaboration: The Case of Richard Duke of York - Andy Kesson, University of Kent (Royaume-Uni)
Early Shakespeare and the first generation of commercial theatre - Rory Loughnane, Indiana University-Purdue University Indianapolis (États-Unis)
Early Shakespeare, Late Peele - Anna Pruitt, Indiana University-Purdue University Indianapolis (États-Unis)
The question of authorship and chronology in Act IV Scene 1 of Titus Andronicus - Peter Sillitoe, De Montfort University (Royaume-Uni)
Locating the Henry VI Plays: Spatial Dynamics in Early Shakespeare - Will Sharpe, Shakespeare Institute (Royaume-Uni)
Shakespeare’s Habits as a Collaborative Author - Holger Schott Syme, University of Toronto (Canada)
Whose Shakespeare? - Gary Taylor, Florida State University (États-Unis)
The Fly Scene in Titus
Participants
- Susan L. Fischer, Bucknell University (États-Unis)
Ekphrastic Criticism in Practice: Making the (Reader) “See” Shakespeare-in-Performance - Elizabeth Howie and Dr. Tripthi Pillai, Coastal Carolina University (États-Unis)
“So Full of Shapes is Fancy”: Photogenic Time and Space in Twelfth Night - José Manuel González, University of Alicante (Espagne)
Painting and Representing Gender in the Drama of Early Modern England and Spain - Michele De Benedictis, University of Cassino (Italie)
The substantial pageant of majestic vision: Shakespeare, Stuart Masques, and the Theatrical Paragone of Arts - Stephen Guy-Bray, University of British Columbia (États-Unis)
Deceiving Art in Venus and Adonis - Peter Latka, University of Toronto (Canada)
“All Adonises must die”: Shakespeare, Titian, and Elizabethan Visual Culture - Armelle Sabatier, University of Paris II Panthéon-Assas (France)
Roses and Blood: Depicting and Visualising Red in Shakespeare’s The Rape of Lucrece - Laura Beattie, Freie Universitaet Berlin (Allemagne)
“I understand her signs”: Ekphrasis and the Male Gaze in The Rape of Lucrece and Titus Andronicus - Camilla Caporicci, University of Perugia (Italie)
“Your painted counterfeit”: Drawing Portraits and Writing Sonnets - Keir Elam, University of Bologna (Italie)
“Wanton pictures”: The Baffling of Christopher Sly and the Visual-Verbal Intercourse of Early Modern Erotic Art - François-Xavier Gleyzon, University of Central Florida (États-Unis)
Opening the Sacred Body: Shakespeare and Uccello - Neslihan Ekmekçioğlu, Hacettepe University (Turquie)
Ekphrasis in Shakespeare’s Two Scenes of Drowning: Ophelia and Clarence’s Dream - Julia Cleave, Member of the Academic Board of the Temenos Academy (Royaume-Uni)
“Well-painted passion”: Shakespeare and the Bassano Fresco - Guillaume Mauger, Paris IV-Sorbonne (France)
“I have drawn her picture with my voice”: Desiring Gaze and Perspective Tricks in Shakespeare’s Rhetorical Portraits - Hanna Scolnicov, Tel-Aviv University (Israël)
Both Goddess and Woman: Cleopatra and Venus - Olivia Coulomb, Aix-Marseille Université (France)
Shakespeare’s Octavia and Cleopatra: between Stasis and Movement - Michele Marrapodi, University of Palermo (Italie)
“Pencill’d pensiveness and colour’d sorrow”: Visual Representation and Ekphrastic Tension in Othello, Cymbeline, and Lucrece - Muriel Cunin, Université de Limoges (France)
“Those foundations which I build upon”: Construction and Misconstruction in The Winter’s Tale - Maria Del Sapio Garbero, Roma Tre University (Italie)
Maternity and the Visual Arts in Shakespeare’s Romances - Giuseppe Leone, Università di Palermo (Italie)
“Hath Death lain with thy wife”: Eroticized Death Iconography in Shakespeare
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:
- Anston Bosman, Amherst College (États-Unis)
Aside Effects - Mariacristina Cavecchi, University of Milan (Italie)
Tagging the Bard. Shakespeare and Graffiti - Tom Cheesman, Swansea University (Royaume-Uni)
The ”Global” Shakespeare Translation Space - Brian Culver, New York University (États-Unis)
“[B]anish plump Jack, and banish all the world”: Global Studies and Shakespeare’s History Plays - Eric Johnson, Folger Shakespeare Library (États-Unis)
BardMetrics: Measuring the Global Shakespeare Marketplace - Yvette Khoury, Independent Scholar (Royaume-Uni)
The ‘Customised’ Model of Aterlife Draws On - Aneta Mancewicz, University of Bedfordshire (Royaume-Uni)
Global and Local Dialectics in Jan Klata’s Titus Andronicus (Wroclaw & Dresden 2012) - Martin Orkin, University of Haifa (Israël)
Troilus and Cressida: Shakespeare, the National Theatre and the RSC as ‘global’? - Ronan Paterson, Teesside University (Royaume-Uni)
“Cleave not to their mould”: Transformations of Macbeth - Elizabeth Pentland, York University (Canada)
Hujjat: Figuring the Global and the Local in Student Appropriations of Shakespeare - Aleksandra (Ola) Sakowska, King’s College London (Royaume-Uni)
‘Liquid Shakespeare’: Theorising global and local performance from a sociological perspective - Mariangela Tempera, University of Ferrara (Italie)
Global Shakespeare in Tatters: Analyzing Fragments from His Works in World Cinema - Ema Vyroubalova, Trinity College Dublin (Irlande)
Methods behind Designing Global Shakespeare Courses
Participants
- Elisa Bertinato, Tor Vergata University, Rome (Italie)
Interpreting space, movement and power in Measure for Measure - Michael Booth, Brandeis University/Harvard University (États-Unis)
Shakespeare, Stories and Conceptual Blending - Joachim Frenk, Universität des Saarlandes (Allemagne)
Falstaff’s Self-Serving Rhetoric - N.R. Helms, University of Alabama, Tuscaloosa (États-Unis)
Collaborative Cognition: Communicating with Madness in The Two Noble Kinsmen - 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 - Patrick Colm Hogan, University of Connecticut (États-Unis)
My Othello Problem: Cognition and Aesthetic Response - Raphael Lyne, University of Cambridge (Royaume-Uni)
Shakespeare and Social Cognition - Felix Sprang, Universität Hamburg (Allemagne)
“Where think’st thou he is now?” The Extension of Rhetoric into Cognition in Shakespeare’s Antony & Cleopatra
Organisatrices
Delphine Lemonnier-Texier, Université Rennes 2, Isabelle Schwartz-Gastine, Université de Caen, et Estelle Rivier, U. du Maine (France)Participants
- Miguel Borras, fondateur du Théâtre du Bout du Monde (France)
- Adel Hakim, directeur du Théâtre des Quartiers d’Ivry (France)
- Thomas Jolly, directeur artistique de La Piccola Familia (France)
- Abigail Rokison, Université de Birmingham (Royaume-Uni)
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.
Participants
- Helen Vella Bonavita, Edith Cowan University, Western Australia (Australie)
Stand up for Bastards: Legitimacy and Illegitimacy in Shakespeare’s plays - Francois Ost, Université Saint-Louis, Bruxelles (Belgique)
Weak kings and perverted symbolism. How Shakespeare treats the doctrine of the King’s two bodies - Carolyn Sale, University of Alberta (Canada)
Shakespeare’s Common Law: Hamlet and Conscience - Gary Watt, University of Warwick (Royaume-Uni)
No Play Without Will - 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
Participants
- Michelle Assay, Université Paris-Sorbonne (France) et University of Sheffield (Royaume-Uni)
Akimov and Shostakovich’s Hamlet: a Soviet ‘Shakesperiment’ - Zorica Bečanović-Nikolić, University of Belgrade (Serbie)
Shakespeare’s Tercentenary in Serbian Poetry - Chris Berchild, Indiana State University (États-Unis)
Designing the Bohemian Coast: Twentieth Century Czech Appropriations of Shakespearean Space and Place - Frank W. Brevik, Savannah State University (États-Unis)
East European Shakespeare Pre- and Post-1989: A Formalist Presentism? - Jana Bžochová-Wild, Academy of Performing Arts Bratislava (Slovaquie)
Tracking (Foot)prints of Shakespeare in Slovak - Anna Cetera, University of Warsaw (Pologne)
I see it in my motion, have it not in my tongue: The Slavic Sounds of Shakespeare - 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 - Natalia Khomenko, York University (Canada)
Seeing Double: Cultural Appropriation and Shakespearean Characters in the Soviet Novel - Jiri Kopecky, Palacký University Olomouc (République tchèque)
William Shakespeare and Czech National Music - 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) - 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 - Madalina Nicolaescu, University of Bucharest (Roumanie)
Shakespeare Studies in Socialist Romania - 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 - Irina Prikhodko, Russian Academy of Sciences, Moscow (Russie)
Russian translations of Shakespeare’s Sonnets - Gabriella Reuss, Pázmány Péter Catholic University (Hongrie)
Appropriations of Shakespeare in 1838: Experimenting with the tragic and the pathetic in England and Hungary - Andrzej Wicher, University of Łódź (Pologne)
Wawel meets Elsinore. The National and Universal Aspects of Stanisław Wyspiański’s Vision of Shakespeare’s Hamlet - Oana-Alis Zaharia, “Dimitrie Cantemir” University of Bucharest (Roumanie)
“Tomorrow, and tomorrow, and tomorrow…” Nineteenth-Century Romanian Macbeth(s)
Séminaire 11
«C’est shakespearien !»: The critical fortune of a commonplace in France from 1820 to the presentParticipants
- Sylvaine Bataille, Université de Rouen (France)
Quand les séries américaines sont « shakespeariennes » : le cliché à l’épreuve de la production télévisuelle contemporaine - Christine Sukic, Université de Reims (France)
« Il est Shakespeare ! » - Gabriel Louis Moyal, McMaster University, Hamilton (Canada)
Traduire l’Angleterre : Le Shakespeare de François Guizot - Emilie Ortiga, Université du Havre (France)
The Presence of Shakespeare in Balzac’s La Cousine Bette - Florence Krésine, Université Sorbonne Nouvelle – Paris 3 (France)
Shakespeare-Gautier : trait d’union ou trait de génie ? - Frédéric Picco, Lycée Camille Jullian à Bordeaux (France)
Les Contes cruels, ou quand le conte devient le lieu shakespearien - Ladan Niayesh, Université Paris Diderot – Paris 7 (France)
Bellini’s I Capuleti e i Montecchi and Berlioz’s ‘Shakespeare’
Participants
- Sharon O’Dair, University of Alabama Tuscaloosa (États-Unis)
“Water’s Violent Love” - Anna Kowalcze-Pawlik, Jagiellonian University (Pologne)
“Map of Woe”: The Topography of Female Body in Titus Andronicus - Joseph Campana, Rice University (États-Unis)
The Bee and the Sovereign: Segments, Swarms, and the Early Modern Multitude in Coriolanus - 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 - Malvina Aparicio, Argentine Catholic University / University of the Salvador (Argentine)
The Non-Human as a Character in Macbeth - Simon C. Estok, Sungkyunkwan University (Corée du Sud)
Ecocriticism and Timon of Athens - David Morrow, College of Saint Rose (États-Unis)
Shakespeare before the Metabolic Rift: Land, Labor and Ecocriticism - Doyle Ott, Sonoma State University (États-Unis)
Putting a Tempest in a Teapot: Physicalizing the Storm in Shakespearean Performance
Organisateurs
Stanley Wells and Paul Edmondson, Shakespeare Birthplace Trust (Royaume-Uni)Seminar 13}The Shakespeare Circle
Participants
- John Astington, University of Toronto (Canada)
Theatre Friends: The Burbages - Susan Brock, University of Warwick (Royaume-Uni)
Shakespeare’s Neighbours and Beneficiaries - Paul Edmondson, The Shakespeare Birthplace Trust (Royaume-Uni)
Actors and Editors John Heminges and Henry Condell - David Fallow, Independent Scholar (Royaume-Uni)
His father John Shakespeare - Graham Holderness, University of Hertfordshire (Royaume-Uni)
His son, Hamnet Shakespeare - Andrew Kesson, University of Roehampton (Royaume-Uni)
Fellow Dramatists and Early Collaborators Henry Chettle, Robert Greene, John Lyly, Christopher Marlowe, Thomas Nashe, George Peele - Alan Nelson, University of California, Berkeley (États-Unis)
His literary patrons the Right Honourable Henry Wriothesley, 3rd Earl of Southampton and Sir John Salusbury - Duncan Salkeld, University of Chichester (Royaume-Uni)
Collaborator George Wilkins - 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 - Greg Wells, University of Warwick (Royaume-Uni)
Son-in-law John Hall - Catherine Shrank, University of Sheffield (Royaume-Uni)
His sister’s family: The Harts - Stanley Wells, The Shakespeare Birthplace Trust (Royaume-Uni)
A close family connection: The Combes
Séminaire 14
‘Many straunge and horrible events’ – Omens and Prophecies in Histories and Tragedies by Shakespeare and His ContemporariesOrganisateurs
Imke Lichterfeld, Universität Bonn (Allemagne) et Yan Brailowsky, Université Paris Ouest Nanterre La Défense (France)Participants
- Justin Kolb, American University in Cairo (Egypte)
“The Dissolution of the Engine of this World”: History and the Decay of Nature in History - 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 - Jessica Malay, University of Huddersfield (Royaume-Uni)
Opposing interpretations of sibylline dynastic prophecy in Shakespeare’s Macbeth and Fletcher’s The Prophetess - 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 - Per Sivefors, Linnaeus University (Suède)
Prophecies, dreams and epistemological change in early modern drama - Oriane Littardi, Université Sorbonne Nouvelle – Paris 3 (France)
“What are you?”: Identifying Anonymous Prophets in Shakespeare’s Tragedies and Histories - Jordi Coral, Universitat Autònoma de Barcelona (Espagne)
“Can Curses Pierce the Clouds and Enter Heaven?”: Prophecy and Imprecation in Richard III - Kristin M. Distel, Ashland University (États-Unis)
“By the pricking of my thumbs”: Corporeal Omens in Shakespeare’s Tragedies - Nathalie Borrelli, Université de Namur (Belgique)
Shakespeare’s Prophesying Witches - Patricia Harris Stablein Gillies, University of Essex (Royaume-Uni)
The Crowned Eye: Visual Space and Prophecy in 1 Henry VI
Organisateurs
Melissa Croteau, California Baptist University (États-Unis) et Douglas Lanier, University of New Hampshire (États-Unis)Participants
- Mário Vítor Bastos, University of Lisbon (Portugal)
Shakespeare and the Poetics of French Film in the early 1960s: Ophélia by Claude Chabrol - Stephen M. Buhler, University of Nebraska-Lincoln (États-Unis)
“You may go so far”: Branagh, Depardieu, Reynaldo - Maurizio Calbi, University of Salerno (Italie)
Exilic / Idyllic Shakespeare: Reiterating Pericles in Jacques Rivette’s Paris nous appartient - Melissa Croteau, California Baptist University (États-Unis)
“I am not what I am”: Othello and Role-playing in Le Enfants du Paradis - Patricia Dorval, Université Paul Valéry, Montpellier III (France)
Macbeth in André Barsacq’s Crimson Curtain (1952): Mise en Abyme and Transgression - 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 - 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
Participants
- Rui Carvalho Homem, Universidad do Porto (Portugal)
Secular Saints : Shakespeare in the Camões Tricentenary (1880) - 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 - Robert McHenry, University of Hawaii (États-Unis)
John Dryden’s Shakespeare: Before Shakespearean Biography - Karen Newman, Brown University (États-Unis)
Shakespeare celebrated in Paris, 1827 - Gabriella Reuss, Pázmány Péter Catholic University (Hongrie)
The Blemishes of the Repertoire: Translation as Celebration. The Shakespeare Cult in Nineteenth Century Hungary - Francisco Fuentes Rubio, University of Murcia (Espagne)
Mickey Mouse Shakespeare: An apparently conservative postal walk through Stratford - 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 - 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 - Noemi Vera, University of Murcia (Espagne)
Celebrating the man: Spanish biographies of Shakespeare in the tercentenary of his death - Shuhua Wang, National I-Lan University (Taïwan)
The ‘Shakespeare Renaissance’ and the Rise of China
Participants
- Letitia Goia, Babes-Bolyai University, Cluj Napoca (Roumanie)
The Enhancement Of Shakespeare’s Sacred in Verdi’s Adaptation of Othello - 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 - Eric Harber, Independent Scholar (Royaume-Uni)
Ambivalence: fire and mud in Othello - John Langdon, Shakespeare Institute (Royaume-Uni)
Death in Midsummer: the Ritual Death of Pyramus and Thisbe in A Midsummer Night’s Dream - 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 - Patricia Parker, Stanford University (États-Unis)
(De)noting and Slander - Kiernan Ryan, Royal Holloway, University of London (Royaume-Uni)
‘Prosper on the top (invisible)’: Power and Perception in Shakespeare - Ewa Sawicka, Warsaw University (Pologne)
Self-mystification in William Shakespeare’s As You Like It, Macbeth, and Cymbeline
Organisatrices
Rosy Colombo, University of Rome “Sapienza” (Italie), et Daniela Guardamagna, University of Rome “Tor ergata”(Italie)Participants
- Francesca Brancolini, University of Rome “Tor Vergata” (Italie)
Was It Shakespeare Who Revised Locrine? A Question of Authorship - Rosy Colombo Smith, “Sapienza” University of Rome (Italie)
Origin Displaced - Tommaso Continisio, University of Rome “Tor Vergata” (Italie)
Shakespeare’s Hand in Mucedorus: Did the Bard Write the Additional Scenes? - Daniela Guardamagna, University of Rome “Tor Vergata” (Italie)
Middleton beyond the Canon - Roger Holdsworth, University of Manchester (Royaume-Uni)
Timon of Athens as a Middleton Play - Lucia Nigri, University of Salford (Royaume-Uni)
Authorial and non-authorial links in The Lady’s Tragedy - Giuliano Pascucci, “Sapienza” University of Rome (Italie)
Not All is Lost. Cardenio, Double Falsehood and music - Rossana M. Sebellin, University of Rome “Tor Vergata” (Italie)
Imagery in Thomas of Woodstock and Richard II
Organisatrices
Ariane M. Balizet, Texas Christian University (États-Unis) and Marcela Kostihová, Hamline University (États-Unis)Participants
- 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 - Sara Eaton, North Central College (États-Unis)
‘Shaping Fantasies’: Courtly Love and Twentieth-Century Movies of A Midsummer Night’s Dream - Natalie K. Eschenbaum, University of Wisconsin, La Crosse (États-Unis)
Juliet’s Narcissism - Jennifer Flaherty, Georgia College and State University (États-Unis)
Is there a Doctor in the House of Capulet? - Preeti Gautam, Government Raza Post Graduate College (Inde)
Encoding the Language of Girlhood: A Study of Shakespeare’s A Midsummer Night’s Dream - Erica Hateley, Queensland University of Technology (Australie)
Antipodean Impulses: Making Sense of Shakespearean Girls in Twenty-First Century Australia - DeLisa D. Hawkes, North Carolina Central University (États-Unis)
Displacement and Delusion: Comic Reflexivity in A Midsummer Night’s Dream - Celi Oliveto, Mary Baldwin College (États-Unis)
Challenging Gender Stereotypes through Production - Shannon Reed, University of Pittsburgh (États-Unis)
A Twenty-Line Trap?: Shakespeare Enacted by Young Women - 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 - Lori Lee Wallace, Pacific Lutheran University (États-Unis)
Patriarchal Idealism and The Merchant of Venice - Deanne Williams, York University (Canada)
Global Girls in Shakespeare’s Late Plays
Séminaire 20
‘The web of our life is of a mingled yarn, good and ill together’: The Nature of Problem in Shakespearean StudiesOrganisateurs
Jonathan Hart, University of Alberta (Canada) Seda Çağlayan Mazanoğlu, Hacettepe University (Turquie), et Merve Sarı Hacettepe University (Turquie)Participants
- Lazarenko Darya, Zaporizhzhia National University (Ukraine)
“To thine ownself be true”: dealing with opacity and solving riddles in the Ukrainian translations of Hamlet - Preeti Gautam, M.J.P. Rohilkhand University Bareilly (Inde)
Airy Nothing or Else? Negotiating A Midsummer Night’s Dream in terms of generic categorization - Özlem Aydin Öztürk, Bülent Ecevit University (Turquie)
“Like, or find fault, do as your pleasures are”: The Mock-Heroic in Troilus and Cressida - Swati Ganguly, Visva-Bharati (Inde)
The problematic of representing Cleopatra: the aesthetics of grotesque - Merve Sarı, Hacettepe University (Turquie)
The Subversive Power of the Fantastic as a Mode in The Tempest - 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 - Kübra Vural, Hacettepe University (Turquie)
The Problems of the Female Wor(l)d in Troilus and Cressida - Agnieszka Szwach, Jan Kochanowski University, Kielce (Pologne)
All’s Well, That Ends Well: A Problem Play Or A Problematic Heroine? - Jennifer Edwards, Royal Holloway, University of London (Royaume-Uni)
‘Bifold authority’: Shakespeare’s Problem Children - Miguel Ramalhete Gomes, University of Porto (Portugal)
The problem of cynicism in Measure for Measure - Natalia A. Shatalova, Lomonossov Moscow State University (Russie)
A ‘problem play’: interplay of genre and method - Emine Seda Çağlayan Mazanoğlu, Hacettepe University (Turquie)
A Problematic Play: Questions, Ambiguity and Human Nature in King Lear
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
- 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 - Debra Ann Byrd (Producing Artistic Director, Take Wing And Soar Productions and the Harlem Shakespeare Festival, États-Unis)
The Harlem Shakespeare Festival - 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 - Nicoleta Cinpoes (University of Worcester, Royaume-Uni)
‘Everyman’s Shakespeare’: Craiova Shakespeare Festival - Jacek Fabiszak (Adam Mickiewicz University in Poznań, Pologne)
The Gdansk Shakespeare Festival: A Shakespeare Theatrical Event - Isabel Guerrero Lorente (University of Murcia, Espagne)
The Almagro Festival and its Shakespearean variety - Ivan Lupic (Stanford University, États-Unis)
What’s Past is Prologue: Ragusan Shakespeare - Boika Sokolova (University of Notre Dame in London, Royaume-Uni)
Grassroots Shakespeare: Thirteen Years of Performance in the Village of Patalenitsa, Bulgaria - Erin Sullivan (Shakespeare Institute, University of Birmingham, Royaume-Uni)
Digital Shakespeare and Festive Time - Patricio Orozco (directeur de Próspero Producciones, Argentine)
The Shakespeare Festival Buenos Aires - Julia Paraizs (Hungarian Academy of Sciences, Hongrie)
Shakespeare Festival – Gyula, Hungary
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).