Tag Archives: ellen terry

Call To Register: Oxford English Graduate Conference “The Famed and The Forgotten”

Registration is now open for The Famed and The Forgotten, taking place on 10th June in Oxford University’s English Faculty.

45 student speakers from Oxford and around the UK will be delivering papers on the concepts of ‘famed’ and ‘forgotten’, interrogated in the broadest possible terms across genres and periods encompassing Old English to the literature of the present day.

A panel discussion on “The Future of Reading” featuring representatives from Oxford University Press, SHM Productions consultancy and the Oxford English Faculty will take place, and we will hear a keynote address from Booker Prize winner Penelope Lively.

The £15 attendance fee covers lunch, snacks and all conference materials. Please register via our website – http://graduate-conference.english.ox.ac.uk/ – or with an email to claire [dot] waters [at] ell [dot] ox [dot] ac [dot] uk.

Then, confirm your place by sending a cheque or postal order for £15 made out to the University of Oxford to Claire Waters, St Catherine’s College, Manor Road, Oxford, OX1 3UJ.

Looking forward to seeing you there!

WRITING ABOUT WOMEN IN SHAKESPEARIAN PERFORMANCE: 11-12 SEPT 2010

Hosted by The Shakespeare Birthplace Trust, in partnership with the University of Warwick and Nottingham Trent University

Shakespeare Birthplace Trust, registered charity no. 209302WRITING 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. 

We ask: 

  • 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…

The Greatest Hamlet of Our Time

I love Hark, a vagrant more than is seemly for someone who won’t read graphic novels and ‘doesn’t like comics’. Every one’s a winner, but this… this is a fucking comic about nineteenth Shakespeare performance history, guys! It’s my DPhil in a line drawing!* I love it.  I include it because it reminds me of working for the RSC. Although David Tennant’s fans (self included) were usually a lot better behaved (apart from the guy who chased him backstage during one interval, or the people who hid behind his car. Or the two Chinese girls who sat outside the stage door, all day, every day, for a week).

The cartoon hysteria’s not unmerited. Edwin Booth was pretty awesome. As well as introducing a sorely needed note of introspection to mid-Victorian Shakespearian acting, he saved Abraham Lincoln’s son from going under a train, perfected the Charles Kean Crawl (the traditional moment in a Victorian Hamlet when Our Hero writhes about on his stomach, at his uncle-father and aunt-mother’s feet…. okay, so, less introspective) added some rug-rumpling, and was the brother of the guy who SHOT ABRAHAM LINCOLN (see start of paragraph). It makes me want this book. Even by the Macready-fancying, death-fetishising, Shaw-obsessing, gender-bending standards of my usual Victorian theatre favourites, Booth’s exciting.

I think he’s also the earliest nineteenth-century actor whose voice is still available to us in recorded form. More famous is Ellen Terry reciting Portia’s “The quality of mercy is not strained […]”, dating from 1912, and which I first heard at the British Library, during marginally related research into Wilde. But Booth’s 1890 recording of Othello Act I, Scene 3 is 22 years older (and 9 years older than the first silent Shakespeare film, Beerbohm Tree’s 1899 King John). You can download here (the embedded file begins “Most potent, grave and reverend signiors”), or listen to a slightly cleaner extract at YouTube (clip 1 begins “My story being done”). I love hearing nineteenth-century actors at work, although as yet it doesn’t affect my critical methodology. I wonder if it will. It makes me think about the possible impact of audio and film recordings on the “archaeological” approach to performance stories: I’ve never yet read a performance studies work on nineteenth or even early twentieth-century drama that seriously considered audio recordings as a source. Perhaps that’s because, as far as I can tell, these records seem to exist outside theatrical performance (I seem to remember reading that Ellen Terry’s recording was part of a lecture – although those, of course, married academic and theatrical experience for her listeners, and are key to my doctoral research), or perhaps there simply isn’t enough material. It’s still worth investigating. Note to self, then.

*I wish this comic were my DPhil.‡

‡Be careful what you wish for.