Hosted by The Shakespeare Birthplace Trust, in partnership with the University of Warwick and Nottingham Trent University:
WRITING ABOUT WOMEN IN SHAKESPEARIAN PERFORMANCE: The Shakespeare Centre, Stratford, 11-12 Sept 2010.
Join a gathering of writers, Shakespeare scholars, theatre critics, actors and fellow enthusiasts as we explore this fascinating theme. Confirmed speakers include Penny Downie (RSC Associate Artist), Professor Laurie Maguire, John Peter, Professor Carol Rutter and Anne Ogbomo. This two-day conference also includes a performance of 1623 Theatre Company‘s production on Ellen Terry, and a drinks reception.
This conference will also be available online as ‘webinar’: log on and experience our event virtually, wherever you are in the world.
- How do we write about women in Shakespearian roles, past and present?
- What is the impact of the female presence on the Shakespearian stage?
- Why are there so few women reviewers?
- What is the place of single-sex companies in a culture which outlaws sex discrimination?
- Do men and women see the same show differently and what difference does this make to an audience’s response?
- What is today’s experience for female actors on the Shakespearian stage?
Registration: £65 (£60 concessions); £57 for Friends of the Trust; £50 students. Please note: ‘webinar’ attendance costs 25% off your appropriate registration fee.
For more information, or to book, email education1 [at] shakespeare [dot] org [dot] uk. Join the conversation now at Blogging Shakespeare, and follow @ShakespeareBT for the latest updates.
Going out on a limb here: this is the most exciting conference in the world. I’m delighted to be working with Paul Edmondson to promote the conference, which has to be absolutely the best place IN THE WORLD to be on September 11 & 12. The conference (to quote my friend C, ‘BEST LINE UP EVER’) will tie in with SBT’s exhibition on artefacts relating to Women & Shakespeare, which runs from 3 July.
Modernism and High Theory did their very best to destroy the relationship between the actress and the academy – L. C. Knights’s first named target in How Many Children Had Lady Macbeth? was Ellen Terry, for daring to lecture on Shakespeare to (as I discovered) “packed houses of women”. Scholarship and stage histories have (largely) privileged tragedy over comedy and male over female, which is why conferences like this are so important, and so exciting. And, er, why I’m writing my DPhil.
I’m especially interested in the women of the Late Plays, but my favourite Shakespearean heroine will always be Kate, from The Taming of the Shrew. I’m hoping the conference includes lots of discussion of the comedies – the best parts in them, like the romances are female. Would you rather play Rosalind or Orlando? Orlando gets to wrestle, but nobody remembers As You Like It for the wrestling. Innogen or Posthumus? Viola or Orsino? Helena’s much too good for Bertram in All’s Well That Ends Well, and although Leontes is one of Shakespeare’s most fascinating characters, Paulina and Hermione can act him off the stage in Act V.
Miranda rarely outshines Prospero, and it’s hard to choose between Beatrice and Benedick, but even in A Midsummer Night’s Dream, the best-beloved ‘festival comedy’ of British theatre, Helena and Hermia shriek, scratch and claw their way through Act 3 – Lysander and Demetrius, too often, are left behind.
You can expect to hear a lot more from me between now and September, sharing preparations for the Conference, and the Trust’s experiments with new media. I sometimes wish I could Tweet from the Birthplace, while guiding – we get the most amazing (and often hilarious) comments from visitors. I’m slowly expanding my French/Italian/Japanese/Armenian (no really) vocabularies by working with group bookings and their interpreters. I think I’d look pretty good wielding a Tudor Blackberry. My favourite languages to date are Indonesian and Armenian, neither of which sound ANYTHING like you’ve EVER heard before (unless you’re Indonesian or Armenian, obviously). I’m always pushing people to sign the guest book – they date back to 1812, and 20 to 30 nationalities sign every day.
The Trust will soon release another, even greater piece of news. It’s huge. My scruples (read: direct orders) prevent me saying more, but it’s stunning, exhilirating, don’t-talk-to-the-press-about-this stuff. Shakespeare geeks and Stratfordians (no overlap there, then), get ready. I just hope the press release arrives soon, so I can gloat…
7 thoughts on “WRITING ABOUT WOMEN IN SHAKESPEARIAN PERFORMANCE: 11-12 SEPT 2010”
YAY. I have SUCH LOVE for yr speakers. When does registration end? I don’t want to register until I can be reasonably sure of being able to go. You know.
And what are concessions? By which I am attempting to ask POLITELY whether there’s a cripple!discount.
(Oh wait, is that too awful to say on yr blog? Don’t approve it if it is. Email me instead.)
I’m not sure about registration – I should imagine it’s open for a long while, but will check with Paul and get back to you. You would, I’m sure, count as a concession. Our speakers are the greatest speakers the world has ever seen: official. I am so excited! You’d love it. On the booking form, there’s space to state access requirements… watch this space.
Much love xx
Concessions include the disabled – I’m not sure about companion rates but if that comes up, I’ll ask. Student rates are available until 4 August, and registration closes on 4 September.
Hope that helps dear wyf xxx
It really does sound like the most exciting conference in the world!
I cannot even find appropriate words to express how lucky you are in your job!
I really hope you can come! Registration closes on 4 Sept, student rates available until 4 August!
I am seriously considering coming to this. I need to boost my academic knowledge of Shakespeare and I love anything to do with women in literature. I’d need to figure out the logistics of getting to Stratford first. But looks v. interesting!
Where will you be travelling from? Let me know and I’ll see what I can do…