Arranged by

The International Shakespeare Association

and

The University of Queensland

in association with

The Australia and New Zealand Shakespeare Association

 

 

 

SEMINAR ANNOUNCEMENT

 

REGISTRATION FORMS ENCLOSED FOR SEMINARS (DEADLINE JULY 15) AND ISA MEMBERSHIP

 

 

FUTURE CONGRESS MAILING AND REGISTRATION

 

This announcement is a call for seminar enrolments.  Further details of the programme, together with a Congress registration form, will be issued in July 2005.  Information relating to travel and accommodation will also be issued later in the year. Those who are currently members of the ISA will automatically receive copies of the next mailing.

 

 

SEMINAR PROGRAMME AND REGISTRATION

 

Seminars on a wide range of topics related to the overall Congress theme will form an important part of the programme.  The seminars are expected not to exceed 20 scholars who will work, under the direction of the leaders, on the topics outlined in this leaflet.  Papers will be written, circulated and read in advance, so that the seminars can be devoted to the discussion of the issues raised in the research.  Registration in a seminar will require active participation.

 

A seminar registration form is included in this leaflet.  Registration is open to all members of the International Shakespeare Association.

 

A formal letter of invitation will go to all members to assist in obtaining institutional funding.

 

Please do not submit seminar papers in advance to the leaders.  Once enrolments are set the leaders will solicit papers from the registered participants.  Registrations for seminars will be sent to leaders by 1 September 2005.

 

THE DEADLINE FOR SEMINAR REGISTRATION IS 15 JULY 2005

 

 

 

SHAKESPEARE’S WORLD / WORLD SHAKESPEARES

Eighth World Shakespeare Congress

 

The Congress will be held from 16 to 21 July 2006 in Brisbane, Australia.  All of the sessions will take place at the Brisbane City Hall.

 

As well as plenary sessions, the Congress will offer a programme of seminars, panel discussions, workshops, performances and films by participants from a wide range of countries, backgrounds, and interests: scholars and critics, artists, and theatre professionals.  For full details about the Congress, visit www.shakespeare2006.net/program.html

 

 

OUTLINE PROGRAMME

 

Plenary meetings: Five internationally known speakers will give plenary papers.  Plenary speakers already confirmed include Ania Loomba, Michael Neill, and David Malouf.

 

Short papers: Over sixty speakers from many different countries will address the Congress.  Although the majority will be by invitation, some space has been reserved for papers submitted for consideration.

 

Seminars: Twenty-four seminars covering a wide range of topics will be held.  The deadline for registration in a seminar is 15 July 2005.

 

 

CONGRESS SOCIAL PROGRAMME

 

The Congress will offer an exciting opportunity to experience some of the cultural and social life of Brisbane, and to see the sights of the city and its environs.  In addition to the welcome reception and Congress dinner, other confirmed events include:

 

·        A major visual and sound exhibition of ‘Shakespeare in Performance in Australia’ organised by the Queensland Performing Arts Centre Museum.

·        An exhibition titled ‘Shakespeare and the Law’ organised by the Queensland Supreme Court Library.

·        A Shakespeare film festival hosted by the State Library, Queensland.

·        USA-based ‘Shakespeare and Co’ will run master classes on performing Shakespeare.

·        A wide range of national and international theatre, music, opera, dance and arts events will be available for delegates to attend, with Shakespeare as a major theme.

 

 

 

GUIDELINES FOR WORLD SHAKESPEARE CONGRESS SEMINARS

 

Purpose: Each seminar is designed to serve as a forum for fresh research, mutual criticism and pedagogical experimentation among members of the International Shakespeare Association.

 

Leaders: The work of each seminar is to be determined by the leaders who are responsible to the Congress Committee of the International Shakespeare Association.

 

Enrolment: Enrolment is open only to members of the International Shakespeare Association.  The leaders may invite up to four participants to join the work of the seminars.  However, the rest of the places in each group will remain open to other members on an enrolment basis.  No one may participate in more than one seminar or workshop.

 

Procedure: As directors of the seminar, the leaders will determine the extent and nature of the work to be done in preparation for these sessions. This may involve common reading, papers, critiques, compilations of bibliographies, or any other technique devised by the leaders.  No member, even if registered in the seminar or workshop, may participate in the discussion at the Congress meeting without completing the advance preparation set by the leaders.  Any seminar or workshop member who has not completed the assigned work by the deadlines specified by the leaders will not be listed on the program and may not join in the discussion at the meeting.

 

Written materials: All papers or other written materials used by the seminar are to be duplicated, circulated and read in advance of the meeting.  The sessions are not to involve either reading or summarizing papers.  It is assumed that all participants will already be familiar with one another’s work by the time the meeting begins.

 

Seminar sessions: The meetings should be devoted to a discussion of the major issues raised by the work already completed. The leaders will assume responsibility for the direction and content of the discussion.

 

Auditors: Auditors may sit in to hear the discussion.  At the discretion of the session’s leaders, auditors may be permitted to join in the discussion in the final portion of the session.

 

 

 

SEMINAR REGISTRATION

 

Please select a seminar.  Delegates may participate in only one of these sessions.  You should list four choices in order of preference. Those registration forms submitted without a range of choices may have to be assigned to a session at random.  Please ensure that you have read the ‘Congress Seminars’ information contained in this leaflet, noting that papers are not to be sent with this form.

 

NAME (please print)…………………………………………………………………………….

 

INSTITUTIONAL AFFILIATION………………………………………………………………

 

NATIONAL SHAKESPEARE ORGANIZATION AFFILIATION…………………………….

 

MAILING ADDRESS………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………………………

…………………………………………………

TEL. NO. (work)………………………………..(home)…………………………………………..

FAX. NO. ……………………………………….EMAIL…………………………………………

 

Seminar in order of preference (list by number in the programme announcement)

 

1^st………….               2^nd…………                3^rd…………               4^th…………

 

 

 

REGISTRATION IS OPEN TO ALL MEMBERS OF THE INTERNATIONAL SHAKESPEARE ASSOCIATION

 

A DUES FORM IS ENCLOSED WITH THIS MAILING

 

 

Please return this form by 15 JULY 2005 to

 

Dr Nick Walton, Executive Secretary, International Shakespeare Association, The Shakespeare Centre, Stratford-upon-Avon, Warwickshire, CV37 6QW, UK

 

or by email to isa@shakespeare.org.uk

 

 

 

 

INTERNATIONAL SHAKESPEARE ASSOCIATION

MEMBERSHIP APPLICATION FORM – SUBSCRIPTIONS

 

Annual individual subscription:  £15. 00.

Annual corporate subscription: £30. 00.

Payment is due in January each year

There is no reduction for subscribing for more than one year at a time but members may pay as far in advance as they wish.

 

METHODS OF PAYMENT

Either by cheque in pounds sterling (GBP) only.

 

I enclose cheque for £…………………………….

 

Name and address……………………………………………………………….

 

Email…………………………………..

 

Or by Visa or Mastercard credit card or Visa debit card.   If electing this method of payment please complete the mandate below:

 

Name of member………………………………………………………………….

Address of member……………………………………………………………….

 

Email………………………………….

Card type:  Mastercard/Visa credit/Visa debit

 

Cardholder account number…………………………………………………….

 

Name and initials exactly as they appear on the card………………………….

 

‘Valid from’ date (if shown on the card).……………………………………….

 

Card issue number (if shown on the card)………………………………………

 

Card’s ‘expires end’ date…………………………………………………………

Statement address………………………………………………………………...

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Contact telephone number (not a mobile phone number)…………………….

Please debit my card as shown above by……………………  (insert amount)

 

Signed……………………………………………

Please return this form to the International Shakespeare Association,

The Shakespeare Centre, Stratford upon Avon CV37 6QW, UK.

 

 

SEMINARS

 

No. 1. Representations of the Master-Servant Relationship in Early Modern European Drama. Leaders: Frances Barasch (City University of New York, USA) and Rosalind Kerr (University of Alberta, Canada)

 

Early modern theatrical representations frequently interrogate the boundaries delineating master-servant relationships. The popularity of this topos suggests that spectators were greatly interested in watching plays in which the social hierarchy could be subverted and patriarchal authority overturned. Papers are invited offering critical perspectives on master-servant or master-subordinate themes, structures, genres, performance conventions (such as transvestite disguise), and audience response in Shakespeare and other early modern theatres of England, Europe, and Asia. Any of a variety of approaches may be considered, including but not limited to theatre history, gender/queer studies, philosophical/psychoanalytic/political/social interpretation, cultural exchange, or modern appropriations of Shakespeare.

 

No. 2. Shakespeare Pedagogy and Global Politics. Leaders: Sharon A. Beehler (Montana State University, Bozeman, USA) and Barbara Korte (University of Freiburg, Germany)

 

This seminar seeks to gather people from around the world with an interest in Shakespeare pedagogy and to engage that group in an intense conversation about ways of theorising about such pedagogy. New exploration of social, political, and pedagogical concerns will enable us to articulate the issues and directions of global pedagogy in a volatile and uncertain world. Guiding questions may include: What place does the teaching of Shakespeare have in a world plagued by upheaval and suffering? How do world events impact the practice of teaching Shakespeare? What cultural, political, and economic constraints impinge upon Shakespeare instruction?

 

No. 3. Self-Identity/Identifying Selves in Shakespearean Worlds. Leaders: Douglas A. Brooks (Texas A&M University, USA) and Catherine Lisak (University of Bordeaux III, France)

 

This seminar seeks to address two basic questions: 1) How does Renaissance drama represent the process of constructing selfhood? and 2) How have various cultures appropriated such plays for the process of forming or reforming their cultural/national identities? Participants will investigate differences, frontiers, exclusions, racisms, and hatreds that have been integral to a given culture’s efforts to project a unified self-identity. It is hoped that participants will not only interrogate the construction of identities in the drama, but will also reflect on their own identification with a certain critical practice or set of practices.

 

No. 4. Global Shakespeares on Film.  Leaders: Samuel Crowl (Ohio University, USA) and José Ramón Díaz Fernández (Universidad de Málaga, Spain)

 

Filmmakers across the globe have translated Shakespeare’s plays into powerful cinematic texts. Adaptations from non-Anglophone directors such as Akira Kurosawa, Grigori Kozintsev, and Don Selwyn (The Maori Merchant of Venice) are past and present examples of such Shakespearean transpositions to the screen. This seminar encourages contributions on a wide range of Shakespeare films that have either relocated or modernised the settings of the plays and/or that have projected the Shakespeare film, in the hands of directors like Baz Luhrmann and Kenneth Branagh, into the global film market in an attempt to reconcile or disturb cinematic, cultural, and commercial traditions.

 

No. 5. The Merchant of Venice: Performance, Reception, Appropriation.  Leaders: Charles Edelman (Edith Cowan University, Australia) and Dympna Callaghan (Syracuse University, USA)

 

Few plays have had as fascinating (and controversial) a history as The Merchant of Venice. Papers are welcome on any number of topics associated with the play. Some examples might be: the play’s performance and reception, both in history and at present; how various productions were/are informed by the politics of the day in various times and at various places; appropriation of the play’s characters into other literary genres and into the wider political/social discourse; teaching about the Merchant, or indeed, should the play be performed or taught at all? It is hoped that this truly global play will attract a global response.

 

No. 6. Sa(l)vaging the New Bibliography: The New Worlds of Editing.  Leaders: Gabriel Egan (Loughborough University, UK) and Suzanne Gossett (Loyola University Chicago, USA)

 

Bringing together editors (past, present or in contemplation) with those who are theorising about texts, this seminar is about textual theory and practice. The immediate focus is what (if anything) may be salvaged from New Bibliography and what might replace it. Editing in the future is likely to rest on a broader intellectual foundation than hitherto, and accordingly the seminar’s discussion of textuality will encompass such matters as philosophical approaches to textuality, early modern linguistics, national traditions and editorial practices, and literary and cultural theory, as well as the practical implications of conflicting theories of “work” and “text.”

 

No. 7. Performing Shakespeare and Gender in the Present.  Leaders: Evelyn Gajowski (University of Nevada, Las Vegas, USA) and Adrian Kiernander (University of New England, Australia)

 

In society as on the stage, gender is profoundly a matter of performance, as Judith Butler reminds us. This seminar will explore the implications of presentism for gender and sexual orientation. How might a heightened awareness of our “situatedness” in the 21st century intervene on transgendered, feminine, and masculine gender performance in early modern English society and texts? How might viewing the present as an experience with which we actively engage inform early modern bi-, homo-, and heterosexualities? What new directions might GLBT, gender, and feminist studies take under the influence of presentism? Papers may be broadly theoretical or particularised readings.

 

No. 8. Brave Old Worlds: Shakespeare Production and Reception in East Asia.  Leaders: Daniel Gallimore (Japan Women’s University, Japan), Alexander Huang (Pennsylvania State University, USA), and Kaori Kobayashi (Doho University, Japan)

 

Shakespeare has been known in East Asia for at least the last hundred years, and has therefore been subject to the three contingent forces of colonialism, modernity, and globalisation. One topic of enduring interest is how this Elizabethan playwright comes to be perceived as modern in the context of East Asian traditions. Another related topic is the way that Shakespeare becomes a solution to tensions within the recipient cultures. This seminar will suggest comparisons between Shakespeare’s production and reception in East Asian cultures in the various periods of modernization and the present, focusing especially on Japan, Korea, and China. 

 

No. 9. Settler Shakespeare.   Leaders: Penny Gay (University of Sydney, Australia) and Mark Houlahan (University of Waikato, New Zealand)

 

If Shakespeare is truly world-wide, then British settlers, carrying the Complete Works along with their family Bibles, are largely responsible. The last twenty years have seen productive studies of Shakespeare in the national contexts of Canada, South Africa, Australia, and New Zealand, but do these national stories have anything in common? What could we learn by placing together accounts of Shakespeare in education, scholarship, and performance, in folk festivals and national institutions? Does “settler Shakespeare” acknowledge the first peoples of these places, and do indigenous appropriations in their turn cast any light on the issues of settler culture?

 

No. 10. Shakespeare’s Appropriations in a Multicultural WorldLeaders: José Manuel González  (University of Alicante, Spain) and John J. Joughin (University of Central Lancashire, UK)

 

This seminar will consider how Shakespearean appropriation in different languages, cultures, and contexts facilitates new modes of perception as well as the potential for exploring the social, cultural, and ethical dilemmas of new roles and identities. It will examine how acculturation can influence the process and conditions of (mis)appropriations. Particular topics may include cross-cultural adaptations or translations of the playwright’s work in a variety of different contexts and media, including the recent emergence of a new wave of multi-national cinematic adaptations of Shakespeare as well as the dispersal of the playwright’s work via the internet and a global Shakespeare industry.

 

No. 11. Shakespeare and Trade. Leaders: Jonathan Gil Harris (George Washington University, USA) and Jürgen Pieters (University of Gent, The Netherlands)

 

This seminar invites papers that consider the relations between Shakespeare and trade from any of a variety of historical and theoretical perspectives. Possible topics include Shakespeare’s representations of merchants and the market; homologies between Shakespeare’s playtexts and the discourses of mercantilism; Shakespeare’s playhouse/joint-stock company as template for early modern commerce; Bardolatry and the trade in Shakespeare relics; the early modern economic lexicons of modern criticism and theory (Greenblatt’s “circulation of social energy,” de Certeau’s “scriptural economy,” Foucault’s “exchanging”); Shakespeare as ideological lubricant for colonial trade and modern commerce; global “Shakespeare” and the cosmopolitanisation of the Bard Business.

 

No. 12. Foreign Shakespeare in the Post-Colonial World.  Leaders: Atsuhiko Hirota (Kyoto University, Japan) and Cary DiPietro (Kyoto University, Japan)

 

This seminar will address the concept of “foreignness” as an interpretive strategy in the global cultures in which Shakespeare is read and performed. Participants are invited to explore a wide array of interpretive modes, including textual readings, theoretical approaches, and performance contexts. While “foreignness” is here defined broadly, papers may examine the issue of language; for example, interpretations which emerge out of engagements with Shakespeare as the drama of a foreign language, or which engage with the foreignness of Shakespeare’s language. Papers may also consider post-colonial perspectives aiming to provide new global contexts for Shakespeare.

 

No. 13. Shakespeare In/To Other Tongues.  Leaders: Ton Hoenselaars (University of Utrecht, The Netherlands) and Chong Zhang (Fudan University, China)

 

How is the Shakespearean message translated into other languages and cultures? What does Shakespeare in other languages mean to their readers and cultures? How does a translation negotiate gender or politics? How do perceptions of translation and adaptation vary in different countries, and across time? What role do the media play in this process: page, stage, television, and internet? Particularly welcome are papers on the friction between local and global concerns involved in the translation process. Is translation a type of afterlife best focused on by Shakespeare Studies, or is Shakespeare best seen as an ideal reference point for Translation Studies?

 

No. 14. Re-Reading Marx and Shakespeare.  Leaders: Peter Holbrook (University of Queensland, Australia), Conal Condren (University of New South Wales, Australia), and Andreas Höfele (Munich Shakespeare Library, Germany)

 

Marxism has been one of the most prolific approaches to Shakespeare, informing, for example, Cultural Materialism and New Historicism. This seminar will investigate the pertinence of Marxism to Shakespeare scholarship in the past, what remains of Marxism, and the possibilities it offers for the future. How was Marx’s project, or that of working-class movements, affected by enthusiasm for Shakespeare? What was the function of Shakespeare study and performance in societies ruled by self-declared Marxist regimes?  How do Shakespeare’s texts comment on the genres, rhetoric, and preoccupations of Marxist discourse? Finally, are there ways in which Shakespearean writing seems to challenge Marxism? 

 

No. 15. Local Shakespeares.  Leaders: Margaret Jane Kidnie (University of Western Ontario, Canada) and Sonia Massai (King’s College, London, UK)

 

Intercultural performance has been variously attacked and defended, and the phenomenon still begs many questions to do with privilege and appropriation. This seminar seeks to explore live productions of Shakespeare that bring into play a tension between local and foreign in order better to understand the politics of cultural and theatrical exchange. How might we distinguish, if at all, between “multicultural,” “international,” and “intercultural” performance of Shakespeare? Each of these three terms seems to gain meaning from an implicit idea of “local”: what does “local” mean in these contexts? How does “locale” (theatrical, cultural, geographical) impact on one’s interpretation of “local”?

 

No. 16. World Feminisms and Shakespeare Studies.  Leaders: Akiko Kusunoki (Tokyo Woman’s Christian University, Japan), Kathleen E. McLuskie (University of Southampton, UK), and Carol Thomas Neely (University of Illinois, Urbana-Champaign, USA)

 

This seminar will ask participants to explore the relationship between feminist theory, feminist practice, and feminist criticism of Shakespeare in a local and global perspective.  Possible questions include: How do feminists read Shakespeare?  How does the history of feminist criticism of Shakespeare differ in different parts of the world and how does that history influence its future? What connections are there between feminist criticism and other current approaches in early modern studies: queer, race-focused, materialist, new and newer historicist, post-colonial? How does globalisation and the condition of women internationally, inside and outside the academy, influence current feminist criticism?

 

No. 17. Shakespeare and Performative Culture.  Leaders: Leanore Lieblein (McGill University, Canada) and Catherine Treilhou-Balaudé (Université de Paris III-Sorbonne Nouvelle, France)

 

This seminar will look at the ways in which Shakespeare productions are a product of their performative cultures. Is there such a thing as a French, Russian, or Chinese Shakespeare? Are performative cultures local, regional, national, religious, class-based, gender-based, or other? To what extent are Shakespeare productions a manifestation of such things as the occasions of their performances, the theatrical spaces (including theatres, sites, and decor) in which they are performed, the practices of actor training and acting styles (including movement, gesture, facial expression, costume, etc.) which are employed, or the linguistic and historical contexts by which they are informed?

 

No. 18. Local and Global Hamlets.  Leaders: Dieter Mehl (Bonn University, Germany) and Jesús Tronch (University of Valencia, Spain)

 

The seminar will examine local/regional/national approaches to Hamlet on page, on stage, and in other cultural manifestations (TV, radio, pop music), aiming at a global perspective. How “popular” is Hamlet? How influential in literary and theatrical traditions? How has it been adapted or domesticated? Seminar discussion will focus on larger cultural issues, not specific translation problems or individual case studies. How can we account for Hamlet’s worldwide popularity? What’s in Hamlet that makes it particularly pertinent or appealing to local/regional/national traditions? How have local Hamlets (theatre productions, printed translations, TV programs) shaped the play into a domesticated or foreignising perspective?

 

No. 19. Shakespeare and Character.  Leaders: Ruth Morse (Université Paris-7, France) and Paul Yachnin (McGill University, Canada)

 

This seminar will review and rethink ideas about character. Papers may be theoretical, historical, or critical, on topics including: (1) the history of character criticism (e.g., Anna Jameson and character study, character in eighteenth-century editorial practice, Bradley, Knights, deconstruction and “character assassination,” historicism, recent returns to character study); (2) theatrical character (e.g., actors and the constitution of character, the creation of plausibility on stage and page); (3) language and style in Shakespearean characterization; (4) the relation of philosophy and medicine to ideas of personality and their application to Shakespeare’s characters; (5) the use of Shakespearean characters as reference and as rewriting.

 

No. 20. The Political Use of Shakespeare’s History Plays.  Leaders: Paola Pugliatti (University of Florence, Italy) and Peter Davidhazi (Hungarian Academy of Sciences, and Eőtvős Loránd University, Hungary)

 

Most readings of Shakespeare’s history plays are connected with an authorial principle. While seeming to discuss the historical view which “Shakespeare” meant to transmit and to shed light on the political self-image of Elizabethan England, such readings tend to superimpose on Shakespeare’s texts the critic’s own political evaluations and the self-image and ideology of his/her time. Is this kind of appropriation to be considered a specimen of “suspicious historicism” on the reader’s part; is it the direct effect of those texts’ ambivalence or “avoidance of intentionality”; or can it be considered as the outcome of a purposefully constructed effect embedded in the texts themselves?

 

No. 21. Emotion and Affect in Shakespeare.  Leaders: David Schalkwyk (University of Cape Town, South Africa) and Michael Neill (University of Auckland, New Zealand)

 

Recent tendencies to view literary texts as the effects of impersonal forces of history or structures of language and ideology have occluded the place of emotion and affect. Can these concepts be returned to critical view within current historicist or presentist projects, or is a new theoretical or philosophical framework required? Papers may seek to bridge old antimonies--public and private, social and individual, impersonal and subjective--with regard to love, desire, guilt, shame, devotion, resentment, fear, joy. Participants may also re-examine the relation of character to language, subjectivity, and interiority in a renewed focus on the heart in Shakespeare.

 

No. 22. “The Season of all Natures”: Sleep in Early Modern England.  Leaders: Evelyn Tribble (University of Otago, New Zealand) and Garrett Sullivan (Pennsylvania State University, USA)

 

Despite much recent work on early modern notions of embodiment, sleep remains a neglected topic. This seminar will focus on what it means to sleep in the work of Shakespeare and other early modern writers. Participants may examine any topic pertaining to sleep, including: the relationships among sleep, dreams, and dream interpretation; sleep and subjectivity; sleep and the five senses; sleep, memory, and forgetting; sleep and animality (Hamlet’s “beast that sleeps and feeds”); sleep and genre; the staging of sleep in the early modern theatre; “waking” sleep or somnambulism; sleep and social class; the physiology of sleep.

 

No. 23. Re-Playing Shakespeare: Performance in Non-Western Theatre Forms. Leaders: Poonam Trivedi (University of Delhi, India) and MINAMI Ryuta (Aichi University of Education, Japan)

 

This seminar will “replay”—i.e., review for close critical attention—that “playing” of Shakespeare in which there is a “playing around,” a re-staging and a re-writing through adaptation, appropriation, or acculturation of the western, logocentric world of Shakespeare into the gestural, symbolic, stylised and ritualised worlds of Asian, African or Aboriginal theatre languages. It will examine this interface in aesthetic, theatrical, and cultural terms, looking at the subversion / collaboration, hybridisation / fusion—of space, structure, body and role—to understand how widely differing cultures negotiate such encounters and the implications of this worldwide re-playing for Shakespeare’s theatre.

 

No. 24. Shakespeare and Film Styles.  Leaders: YONG Li Lan (National University of Singapore, Singapore) and Bob White (University of Western Australia, Australia)

 

This seminar invites papers that examine how the relations between Shakespeare’s plays and cinematic styles of adapting them construct contemporary cultures through a relationship to Shakespeare and what he represents. It aims to read film style as not only an act of interpreting the play, but a self-reflexive strategy for producing cultural positions and tensions. Possible topics may include: the relation between Hollywood genres and conventions, localized popular genres, and Shakespeare; relationships between the dialogue, sub-titles, and Shakespeare’s text in foreign or multi-lingual films; Shakespeare parodies; cinematic spectatorship and spectacle; and the incorporation of theatrical performance into the film.

 

 

 

THE INTERNATIONAL SHAKESPEARE ASSOCIATION

President:

Dame Judi Dench

 

Honorary Vice-Presidents:

Marie-Thérèse Jones-Davies, Werner Habicht, Rudolf Habenicht, Levi Fox

 

Vice Presidents:

Ann Jennalie Cook                                (Vanderbilt University)

Stanley Wells                                        (Shakespeare Birthplace Trust)

 

Chair:

Jill Levenson                                         (Trinity College, University of Toronto)

 

Vice Chair:

Tetsuo Kishi                                          (University of Kyoto)

 

Executive Committee:          

Alexei Bartoshevitch                             (Russian Academy of Theatre Arts)

Sukanta Chaudhuri                                (Jadavpur University)

Ann Jennalie Cook                                (Vanderbilt University)

Lloyd Davis                                          (Queensland University)

Carla Dente                                          (University of Pisa)

Chee Seng Lim                                     (University of Malaya)

Dieter Mehl                                          (University of Bonn)

Martin Orkin                                         (University of Haifa)

Lena Cowen Orlin                                 (Shakespeare Association of America)

Anthony Parr                                        (University of the Western Cape)

Yves Peyré                                           (University of Toulouse – Le Mirail)

Fang Ping                                             (Shakespeare Association of China)

Roger Pringle                                        (Shakespeare Birthplace Trust)

Martin Prochazka                                  (Charles University, Prague)

Stanley Wells                                        (Shakespeare Birthplace Trust)

 

Congress Committee:

Chair: Jill Levenson                              (Trinity College, University of Toronto)

Vice Chair: Tetsuo Kishi                      (Shakespeare Society of Japan)

Susan Brock                                         (Shakespeare Birthplace Trust)

Lloyd Davis                                          (Queensland University)

Carla Dente                                          (University of Pisa)

Richard Fotheringham                            (Queensland University)

Nancy Hodge                                        (Vanderbilt University)

Peter Holland                                        (University of Notre Dame)

Russel Jackson                                      (University of Birmingham)

Yuji Kaneko                                          (Chuo University)

Arthur Little                                          (University of California)

Dieter Mehl                                          (University of Bonn)

Lena Cowen Orlin                                 (Shakespeare Association of America)

Martin Prochazka                                  (Charles University, Prague)

 

 

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