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BSA 2023 Conference: Seminar enrolment and second part of call for papers now open

The British Shakespeare Association conference will take place at the University of Liverpool, Tuesday 25th – Friday 28th July 2023, organised by Dr Esme Miskimmin (University of Liverpool), Dr Katie Knowles (University of Liverpool) and Professor Emerita Elspeth Graham (Liverpool John Moores University).

BSA 2023: Re-locating Shakespeare

Seminar Enrolment

Enrolment in BSA 2023 Seminar and Workshops is now open. The titles and convenors of the sessions are below; for full descriptions and instructions on how to enrol please visit

Seminar and Workshop enrolment will be open on a first come, first served basis until Friday 24th February 2023.

Please note that these sessions are in-person unless otherwise indicated.


  1. Re-wilding Shakespeare (Todd Borlik)
  2. [Online Session] Re-locating Shakespeare in 21st-Century India (Thea Buckley & Rosa García-Periago)
  3. Women Reading, Editing, and Adapting Shakespeare (Koel Chatterjee)
  4. Re-locating the Early Modern Body: Processes, Porousness, Excretions (Anjna Chouhan & Pete Smith)
  5. “Local Habitation” and Climate Shift in Shakespeare’s Age (Darryl Chalk & Laurie Johnson)
  6. “To sleep, perchance to dream”: Dreamscapes in Shakespearean Plays and Adaptations (Charlène Cruxent & Nora Galland)
  7. Madness, Motion, and the Relocating Mind in Early Modern Drama (Bridget Escolme and Avi Mendelson)
  8. Relocating Shakespeare and Redefining Fidelity in Appropriation (Valerie M. Fazel & Louise Geddes)
  9. Shakespeare in the Audio World (Ronan Hatfull and Andrea Smith)
  10. [Online session] Difficult Drama?: Relocating Shakespeare and his Contemporaries to the Classroom (Jennifer Rae McDermott & Mathieu D. S. Bouchard)
  11. Who Owns Shakespeare?: Casting, Discrimination and the Performance of Location (Jami Rogers)
  12. Shakespeare, Here, Now: Locating ‘Relevance’ in Early Modern Drama (Beth Sharrock & Ella Hawkins)
  13. Shakespeare and Banishment (Alex Thom)  


  1. “Bring me the map”: Shakespeare and the Cartographic Imagination (Sharon Emmerichs)
  2. Adapting Shakespeare: How the Macro Affects the Micro, and Vice Versa (Lucy Eyre)
  3. How can we decolonise the teaching of Shakespeare? (Tania Roxborogh)
  4. Teach-Meet (Chris Green)    

Other Session Formats

Submissions for other session formats are also now open. The conference is planned as a predominantly in-person event, with some of the sessions to be live-streamed. The organisers therefore welcome submissions for the following in-person delivery formats:

  • 20-minute paper: Please submit a proposed paper title, 200-word abstract and a short bio.
  • Panel (3 x 20 min papers): Please submit a single document containing a panel title, short description of the panel’s theme and rationale, along with the individual titles, 200-word abstracts, and short bio notes for each of the three speakers.
  • Early Career Researcher Poster: Please submit a 200-word abstract about your project and provide a bio outlining your eligibility as an Early Career Scholar (i.e. doctoral candidate or within 6 years of attaining your doctorate). 
  • Roundtable: Please submit a proposed title, 200-word description of the roundtable’s focus, along with the names and short bios of all roundtable participants.

Please visit to learn more about what these presentation formats entail.

Conference Theme: ‘Re-locating Shakespeare’

In Shakespeare’s lifetime, and in the four hundred years since the relocation of his plays from stage to page in the First Folio, his work has had a sustained and varied life in multiple geographical and theoretical locations through print, performance, research and education. More importantly, perhaps, there has been a concomitant narrative of ‘relocation’ associated with Shakespeare. The physical journeys of his works and their performers, including the visits of Lord Strange’s Men to the Northwest in the late sixteenth-century, performers who used the plays for colonialist and imperialist purposes overseas, or the arrival of Ira Aldridge, the ‘Black Roscius’ at the Liverpool docks in 1824, attest to a constant geographical relocation of Shakespeare and his performers. There have also always been sustained theoretical re-locations of Shakespeare in relation to changing contexts and prevailing critical, socio-historical and theatrical perspectives. Most recently, the opening of the Shakespeare North Playhouse in Knowsley has relocated performances and narratives of Shakespeare in the Northwest of England.

This conference will seek to explore the geographical, temporal and semantic ‘Re-locations’ of Shakespeare, looking again at the place(s) of his works and reassessing them through the wider contexts of performance, print, translation, teaching and research. Possible focuses could include (but are very much not limited to):

  • Notions of location, locating and re-locating within Shakespeare, including explorations of travel, exile, pilgrimage and direction.
  • Claiming and ‘owning’ locations, including colonial and postcolonial re/appropriations.
  • The cartographies of Shakespeare – the mapping / remapping, navigation and ‘discovery’ of locations.
  • Re-locating through the imagination and / or the virtual:  the movement from the ‘wooden O’ to the ‘vasty fields of France’ or the virtual Dover cliff; online performances.
  • Re-locating through translation and adaptation, including dramatic, musical, operatic and fictional adaptations.
  • Location / Re-location in the teaching of Shakespeare – where and how pupils and students experience Shakespeare.
  • Voluntary and / or forced relocations – in Shakespeare’s texts, or for pedagogical or political uses.
  • Re-locating perspectives (critical, pedagogical or performative) in relation to cultural and social changes, disability and LGBTQ+
  • Relocating in times of pandemic (from the touring circuit outside of London during the plagues and beyond, to the internet during covid).
  • ‘What do they in the North?’ (RIII 4.4.398): Implications / connotations arising from a specifically ‘northern’ Shakespeare.
  • Re-locating Shakespeare’s work in understandings of literary / theatrical / critical canons, in the light of any of the above (or any other types of ‘re-locations’).


Please email your abstracts and bios to the BSA 2023 Conference Team, Dr Esme Miskimmin, Dr Katie Knowles, and Professor Elspeth Graham, at:


The deadline for submission is Friday 20th January 2023.

Call for Papers: A Special Issue of ‘Multicultural Shakespeare’ Journal

The guest editors of the special issue of Multicultural Shakespeare: Translation, Appropriation and Performance (2022), ‘Staging Utopias: Shakespeare in Performance’ invite submissions that consider Shakespeare and utopia in performance.

Abstracts of 300-400 words should be sent to the guest editors of the special issue: Delilah Bermudez Brataas (Norwegian University of Science and Technology), Magdalena Cieślak (University of Lodz) and Anna Kowalcze-Pawlik (University of Lodz).

Deadline for abstracts : April 30, 2022
Deadline for submissions of 6,000-6,500 word articles: June 15, 2022

Further Particulars from the Guest Editors

Jill Dolan writes in Utopia in Performance (2010) that theatre potentially allows for utopian performatives, i.e. those moments in the performance that open up the audience to “a hopeful feeling of what the world might be like if every moment of our lives were as emotionally voluminous, generous, aesthetically striking and intersubjectively tense” (4) and “allow fleeting contact with a utopia not stabilized by its own finished perfection […] but a utopia always in process, always only partially grasped, as it disappears before us around the corners of narrative and social experience”(6). A utopian performative in this context is a moment of empowerment that gestures towards a vision of a better reality and reveals an ethical dimension of the play that has a potential transformative, if not political impact. This volume takes this proposition further, to investigate the presence of the utopian impulse in Shakespeare’s works on stage. Whether that presence emerges as the influence of classical ideal spaces, the bourgeoning potential of the new world as a utopia, or the political ideologies inspired by Thomas More’s Utopia (1516), visions of utopia appear in Shakespeare’s plays, to be further elaborated on, negotiated and modified in performance that can amplify the utopian impulse in its own utopian performative, or, alternatively, engage it in a
dystopian fashion.

We are interested in submissions that:

  • address “utopian performatives” in Shakespeare in performance
  • consider how Shakespeare’s works contributed to the development of utopia as a genre and/or the impact of utopian literature and criticism on Shakespeare in performance
  • analyse the way in which Shakespeare’s idealized presence an international social and cultural icon influence our contemporary understanding of utopian literature
  • examine the ways in which the utopian impulse has been created, staged and/or critically engaged in theatrical productions across the centuries and continents.

By bringing together critical reflection on theatre as a utopian space and the ways in which it is actively used in Shakespeare in performance the volume should chart the territory that, with the notable exception of The Tempest, still remains relatively unexplored.

This information is also available in a PDF poster format.

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