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BSA 2024 Conference: Seminar Enrolment and CfP

Shakespeare’s Writing Lives’ commemorating the 20th anniversary of the BSA’S journal, Shakespeare, 26-28 June 2024, De Montfort University, Leicester.


Commemorating 20 years of the journal, Shakespeare, this conference will be held where the journal began and will anticipate a diverse range of papers on the topic of Shakespeare’s Writing Lives which includes but is not limited to Shakespeare’s, his company’s and collaborator’s biographies, Shakespeare’s biographers, Shakespeare as biographer (encompassing his representation of historical figures), adaptations of Shakespeare’s characters, the ‘authentic’ Shakespeare and authenticating Shakespeare, candidates for the Dark Lady, playing William Shakespeare, fictional biographies (Hamnet on page and stage), and Shakespeare’s biographical legacies.

Submissions are now open for precirculated seminar papers and presentations to be delivered as part of panels.

How to Make a Submission

To enrol in a seminar OR submit an abstract for consideration as part of a paper panel, please log in to your BSA account and fill out the form in the ‘BSA 2024’ folder on your member’s dashboard: https://www.britishshakespeare.ws/log-in/

Deadline for Submissions

Seminar enrolment and submission of abstracts will remain open until 9th February 2024.

Panel Presentations

Please submit a title and a 200-word abstract via the online form. The maximum number of speakers per panel will be 4.

Seminar Enrolment

Seminars involve writing a short paper for pre-circulation within the seminar group, with the expectation that seminar participants offer feedback to one another and meet for in-person discussion during the conference. The maximum number of participants per seminar is 12. Please use the online form on your member’s dashboard to make your seminar selection and submit a 200-word abstract via the form on your member’s dashboard.

The seminar sessions on offer at the BSA 2024 conference are:

(1) Authenticating Shakespeare – What did Shakespeare Really Write? (Convenors: Gabriel Egan, De Montfort University and Brett Greatley-Hirsh, University of Leeds)

Recent studies have claimed that plays not previously included in the canon are at least in part by Shakespeare, including Arden of Faversham, The Spanish Tragedy, and Double Falsehood, and that plays long attributed to Shakespeare alone include others’ writings, including all three ‘Henry 6’ plays and ‘All’s Well that Ends Well’. How can we tell what is by Shakespeare and what is not? What difference do these determinations make for activities centred on named authors, including this meeting of the ‘British Shakespeare Association’? Contributors to this seminar are invited to describe new methods for attributing authorship, the application of existing methods to new cases, and reflect on actual or projected consequences of the changing consensus about what is and is not by Shakespeare.

(2) Shakespeare and Europe – The Writer and His Continent (Convenor: José Pérez Diez, University of Leeds)

Shakespeare was deeply steeped in a common European literary and cultural heritage that crossed the boundaries of nations, states, and sectarian religious divides. His engagement with classical Latin and Greek sources, as well as his knowledge of the developing themes and literary traditions of the other vernacular languages of the continent, are well attested. Conversely, his influence on the literature and culture of Europe since his death in 1616 has been all-pervading, and continues to grow today. This seminar investigates Shakespeare in and from a European context, both in his indebtedness to Renaissance European influences in his own time and historical context, and in his preeminent place in European culture across the centuries. Papers produced for this seminar may tackle any aspect related to Shakespeare’s work and legacy in European culture.

(3) Picturing Shakespeare (Convenor: Deborah Cartmell, De Montfort University)

Despite Ben Jonson entreaty to readers to ‘look / Not on his picture, but his book’, interest in the picture of Shakespeare has never gone away. The seminar will explore why, since the first appearance of Martin Droeshout’s engraving of Shakespeare, Jonson’s advice has been ignored. Papers are invited on visual representations of Shakespeare which could include Shakespeare portraits, Shakespeare branding, and Shakespeare’s visual representation, in painting, sculpture, theatre, film, television and other media. Topics we might explore are the persistence of Shakespeare’s image in popular culture, changing representations of Shakespeare, from ghostly professor to Hollywood heartthrob, global visualisations of Shakespeare, Shakespeare’s visual signifiers (the quill, the ruff, the signature) and the authenticating power of Shakespeare’s image.

It is hoped that papers in this seminar will include images.

(4) Shakespeare’s Players – Their Lives and Legacies (Convenors: Siobhan Keenan, De Montfort University and Tom Rutter, University of Sheffield)

Informed by the flourishing of early modern repertory and acting company studies, recent times have seen a growing recognition of, and interest in, the ways in which actors and acting companies collaborated with, and helped to shape, the plays written by Shakespeare and his contemporaries in the early modern period. Similarly, inspired by the emergence of ‘star’ theory and the rise of performance history, there is now a significant and growing body of work exploring the role of ‘Shakespearean’ actors in shaping the subsequent performance and reception of Shakespeare’s plays on stage and screen. This seminar aims to bring the latest work in these fields into conversation, by inviting colleagues to reflect afresh on the lives and legacies of Shakespeare’s players, past and present, as well as performers of early modern drama more generally, and how they have shaped our understanding and the reception of Shakespeare and the drama of his time across the globe.

This could include papers exploring (but not limited to): the relationship between Shakespeare / Shakespeare’s plays and individual actors and/or acting companies in his own day (such as the Lord Chamberlain’s / King’s Men); leading Shakespearean actors and/or Shakespeare-focused theatre companies of subsequent eras; studies of current Shakespearean actors / Shakespeare-focused companies (such as the Royal Shakespeare Company, the Globe Theatre); Global Shakespeare players; players in Shakespeare adaptations; Shakespearean casting practices (including in relation to matters such as gender, race, and disability); Shakespeare/Shakespearean actors on film and television; the concept and cultural value associated with being recognised as a ‘Shakespearean’ actor; the representation of Shakespearean actors and / or their lives in bio-fiction on the page or screen. Contributors are also welcome to address these topics as they relate to non-Shakespearean dramatists, actors and companies, and to the performance afterlives of other early modern playwrights.

(5) Shakespeare’s Fictional Afterlives (Convenor: Michael Davies, University of Liverpool)

Adaptations, alterations, imitations, continuations, offshoots, feed-offs, transformations, translations, transmutations, transculturations, revisions and re-visionings, versions, reconstitutions… As Daniel Fischlin and Mark Fortier acknowledge, there may well be ‘no right name’ for it, yet the rewriting of Shakespeare remains a major cultural phenomenon and a booming literary industry. In light of the ‘Hogarth Shakespeare’ series, commissioning major international authors over the last decade to ‘retell’ Shakespeare’s most well-known works, this seminar invites assessments and evaluations of contemporary prose fiction that reimagines Shakespeare’s plays, plots, characters (perhaps even Sonnets) in new ways for their readers. Avoiding adaptations for children (in the ‘Tales from Shakespeare’ tradition) contributors may focus on individual novels, short fiction, or collections of short stories. Alternatively, participants could consider and debate broader questions. How do writers and readers today navigate transitions in form, genre, and style from Shakespearean verse drama to prose fiction; from romance to realism; from the early modern to the postmodern? Is this retelling (and retailing) of Shakespeare creatively enabling or debilitating? What constitutes a ‘successful’ rewriting of Shakespeare? Is a canon of Shakespeare fiction emerging, and if so, on what basis? And has the phenomenon of Shakespeare retold (and resold) reached exhaustion? What might the future hold after Smiley, Updike, McEwan, Atwood, Sinclair…?

(6) The Parallel Lives of Stock Characters, or The Shakespearean Multiverse (Convenor: Miranda Fay Thomas, Trinity College, Dublin)

This seminar considers what happens when we re-locate familiar characters in new or unexpected places. European Renaissance drama was highly familiar with the idea of stock characters, a practice which enabled instant recognition of archetypes by audiences and allowed actors to prepare for roles faster in the limited time afforded by the repertory system. If all writing is re-writing, what changes when we think of these stock characters in new plays as having another shot at life, further opportunities to succeed, or to fail better? While Marvin Carlson’s notion of ‘haunting’ is a mainstay in contemporary theatre studies, we can also apply the idea of how actors and the characters they embody facilitate remembrance of (fictional) lives past during the early modern period. Once we move away from the naïve belief that all of Shakespeare’s characters are individuals, how might we re-conceive this act of theatrical recycling in ways that evoke new possibilities? How have ‘stock’ Shakespearean lives – his heroes, his lovers, his vice figures, and more – been relocated in different times, places, and genres? This seminar invites papers that engage with these central questions and welcomes approaches including (but not limited to) performance and theatre history, original practices, adaptation, global Shakespeares, audience studies, and fan studies.  

(7) Shakespeare’s Community (Convenor: Geoffrey Marsh, former Head of Performance Department, Victoria and Albert Museum)

Shakespeare was a Londoner in his professional life — a resident, a tax-payer, a theatre owner – and also a commuter to his place of origin, Stratford-upon-Avon. The more we learn about Shakespeare’s professional life the more we find him living and working within particular communities that seem to have shaped his creations and his living habits. We now know that he worked closely with other theatre professionals not only in running the country’s most successful theatre company but also in composing its plays. We know where Shakespeare lived in London for much of his career and it seems that the people he lived around productively influenced his invention of unforgettable characters and situations. This seminar is concerned with what we know about the various residential and professional communities that Shakespeare lived and worked in, and the degree to which our knowledge of them should affect our understanding of his plays and poems.

(8) Shakespeare’s Lives in Performance (Convenor: Ollie Jones, University of York)

This seminar invites consideration of Shakespeare’s lives – both those of his characters and of Shakespeare as a character himself – in performance, on stage and screen. We invite papers which take as a central focus a key Shakespeare character, a Shakespearean actor (past or present) or Shakespeare himself as a fictional character.

Papers might address:

  • Exploration of key characters from Shakespeare’s plays, their performance challenges and actors’ choices made in performance
  • Reinvention or reinterpretation of Shakespeare’s characters through performance
  • Shakespeare’s characters’ appearance outside of their plays
  • Shakespeare as a character on stage and screen
  • Actors’ diaries and memoires as a document – or revision – of practice
  • The impacts of directorial choices, casting, and design on presentation of Shakespeare’s characters in performance
  • The impacts on characters of staging interpretations or recontextualisations of the play to the moment of production
  • Consideration of rehearsal room practice and discoveries, and practice-as-research explorations, are especially welcome.        

(9) Lives of Shakespeare’s Contemporaries (Convenor: Lisa Hopkins, Professor Emerita, Sheffield Hallam University)

Topics could include (but are not limited to) the lives and careers of any of the contemporary dramatists (or other theatre professionals such as actors) whose lives and careers intersected with Shakespeare’s; contemporary and later representations of such lives; potential sources of biographical information; and the question of whether we know less or more about Shakespeare than we might expect.

(10) Shakespeare’s Historical Biographies (Convenor: Alison Findlay)

‘There is a history in all man’s lives / Figuring the nature of the times deceased / The which observed, a man may prophesy / With a near aim, the chance of things / As yet not come to life’ pronounces Warwick (2 Henry IV, 3.1.75-9). Shakespearean historical biography looks backwards and forwards simultaneously, as figured in Tudor rewritings of Richard III, the exhumation and royal reburial of Richard’s skeleton in Leicester, and Philippa Langley’s most recent quest to prove the escape of the Princes from the Tower. Norman Rabkin argues that Shakespeare’s historical biography looks both ways ideologically as well, using Gombrich’s rabbit-duck illusion to reveal a Janus-faced quality in Henry V, which ‘points in two opposite directions, virtually daring us to choose one of the two opposed interpretations it requires of us.’  This seminar invites papers which discuss the numerous ways in which Shakespeare shapes historical biographies in any of the following broad areas.

  • Biographies of individuals (sovereigns from King Lear, Edward III, King John, to Richard II, Henry IV, V, VI, Richard III, Macbeth and Henry VIII) or leaders from the classical world (e.g. Julius Caesar, Cleopatra, Mark Antony, Lucrece).
  • Biographies of dynasties (e.g. the Andronici, the houses of Ptolemy, Lancaster, York) or of nation states (Rome, France, England, Wales, Ireland, Scotland, ‘Britain’ in Lear and Cymbeline).
  • Collaborative forms of biography and the stories they produce in co-authored texts (e.g. Edward III, HVI plays Macbeth, HVIII, Two Noble Kinsmen)
  • Dramatic biographies as collaborations with existing biographies e.g. Holinshed, Plutarch, The Mirror for Magistrates, Froissart’s Chronicles etc. etc.
  • Biographies which shape plots in other genres and create alternative types of history (e.g. Leontes’ and tragicomedy; Helena’s folk-tale quest in All’s Well; Troilus and Cressida’s predetermined biographies, The Tempest as Prospero’s autobiography).

(11) Defining Shakespeare (Convenor: Anna Blackwell, University of Nottingham)

Scholarly efforts to define the figure of the ‘Shakespearean’ actor have focused on their perceived influence upon their industry; the extent to which they have, in Peter Holland and Adrian Poole’s words, shaped the ‘interpretation, understanding and reception of Shakespeare’ (2013, vii); and hardest of all to quantify, a certain ineffable greatness. And yet culture also abounds with Shakespeareans and Shakespeares who are anything but skilled — a phenomenon has existed for as long as there has been the potential for ‘good’ Shakespeareanism’. Consider, for example, the excruciatingly bad actor Mr Wopsle in Great Expectations, Alan Rickman’s frustrated thespian-turned science fiction star in Galaxy Quest (‘How did I come to this? I played Richard III. There were five curtain calls’), or David Mitchell’s loser dad in Upstart Crow.

Taking these actors as our cue, the seminar aims to examine not only the mechanisms which define and assign Shakespearean greatness (and the converse), but to explore alternative Shakespearean legacies, performers, and modes of performance. Topics we might explore include (but are not limited to): failure; casting practices; accessibility; biographical accounts of Shakespearean actors and directors; fictional depictions of Shakespeare and Shakespeareanism; depictions of acting; adaptation; ‘incomplete dramaturgies’ (Williams 2022). Our focus is on contemporary Shakespearean performance, but submissions which explore historical precedents are also welcome.

Technical Issues or Queries

If you encounter any technical difficulties or have any questions about the online submission / enrolment form, please contact the BSA’s Web Officer, Kat Hipkiss or Web Deputy, Andrea Smith.

If you have general query about the conference, please contact the Conference Team.

Featured image courtesy of the RSC.

Call for contributions: “Learning from Casting” (University of Southampton, 3rd July 2023)

Call for contributions: “Learning from Casting”, a symposium at the University of Southampton 

On the 3rd of July, 2023, the University of Southampton will host a symposium for researchers, actors, and creatives interested in examining current casting practices in Shakespeare productions in the UK. The conversation, which will cover topics such as non-traditional and conceptual casting, self-tapes, online auditions, and casting challenges presented by specific plays, will take the form of roundtable discussion, a panel bringing together distinguished Shakespearean actors working in the UK, and a session with Sam Jones CDG, who is credited with casting some of the most successful films, TV shows, and stage productions over the last couple of decades, and who will join us to discuss her experience as the Head of Casting for the RSC as well as her work with Dominic Cooke on the second season of The Hollow Crown

While there is no need to submit a proposal for a research paper, you are welcome to express interest in participating in a roundtable discussion by sending a brief outline of your research interests in Shakespearean casting or your experience with the current casting practices in the industry to Jakub Boguszak by June 1, 2023.

BSA 2023 Conference

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’

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, including (but 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’).

We are delighted to have three plenary lectures by:

Professor Poonam Trivedi (formerly University of Delhi) 
Dr Eleanor Rycroft (University of Bristol) 
Ben Crystal (author, actor, producer) 

and a plenary roundtable led by:

Dr Peter Kirwan (Mary Baldwin University). 

Please visit the BSA 2023 conference page for additional information about provisional registration fees and conference news.

Contact the conference organisers

The conference organisers, Dr Esme Miskimmin, Dr Katie Knowles, and Professor Elspeth Graham, can be contacted via the conference email address:

british.shakespeare.conference[at]gmail.com

Follow #BSA2023 on Twitter @BSA_Conference

BSA 2023 Conference: ‘Re-locating Shakespeare’ (University of Liverpool, 25th – 28th July 2023)


The British Shakespeare Association is delighted to announce that our next 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 Elspeth Graham (Liverpool John Moores University).

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 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:

  • 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’).

Submissions for the conference are now closed and the conference programme is currently in preparation.

Please visit https://www.britishshakespeare.ws/conference/ for further information about the event, provisional registration fees, news, and announcements.

If you have any questions, please contact Dr Esme Miskimmin, Dr Katie Knowles, and Professor Elspeth Graham at the conference address:

british.shakespeare.conference[at]gmail.com

Please follow the BSA 2023 conference Twitter account for updates: @BSA_Conference

CFP for the first CIRCE CONFERENCE (June 2022): Comparative Approaches to the Study of Early Modern Theatre on Screen

BSA member Víctor Huertas Martín shares the following call for papers for the inaugural conference of the CIRCE project.

About CIRCE

Early Modern Theatre, developed mainly in Spain, France, Italy, England and Portugal, has been adapted to cinema, television and, more recently, to multimedia. Since their respective inceptions, these audiovisual media have contributed to the public dissemination of the works of Shakespeare, Lope de Vega, Calderón de La Barca, Gil Vicente, Molière, Racine and many others. To the film productions developed at different historical junctures, we may add the television adaptations which, with greater or lesser degrees of canonicity, boosted during the twentieth century the audiovisual reception of this theatrical legacy in Europe and beyond. They did so, as films did, not only adapting the plays in their own languages but also in foreign languages. More recently, as a consequence of the development of digital technologies and streaming channels, such as live theatre, new impetus to the dissemination of early modern theatre have succeeded in enthusing audiences worldwide.

Looking into the different conventions to adapt plays to the screen during specific time periods, we observe similarities and contrasts in contemporaneous adaptations. These similarities and contrasts allow us to think of ways of organizing these adaptations as part of a holistic European tradition, however complex and dislocated such tradition may seem. For example, Pilar Miró was inspired, while directing El Perro del Hortelano (1996), not only by the Russian cinematic precedent Sobaka na Sene (dir. Yan Frid, 1978), but also by the Shakespearean adaptations made by Kenneth Branagh in the 1990s. During the 1950s, 1960s, 1970s and 1980s, various European public broadcasters devoted time and artistic expertise to transferring important examples of their theatrical traditions and also of foreign plays to the television screens. This helped to create a series of conventions–emphasis on naturalistic recitation faithful to the original texts; textual delivery in close-up; simplicity of sets and use of small recording places; recording routines using two or three cameras; creation of atmospheres via chiaroscuro lighting to make the most of the scarcity of technical resources, etc.–which could be found in different countries when adapting the classics. Outstanding screen directors worked on plays by authors from different traditions. For example, Antonio Román directed Shakespeare and Lope de Vega for the big screen; Pedro Amalio López directed Shakespeare, Lope de Vega and Calderón for television and, currently, Don Kent combines the screen direction of Shakespeare and Molière.

Some of the most representative works of this theatrical legacy have not appeared in the form of canonical adaptations. Rather, they are to be found in more or less diffuse forms in audiovisual adaptations which also draw on other sources to rethink the myth to which they belong. This phenomenon affects characters such as Faust, whose Marlovian source is present, albeit recast with other versions of the legend, in Faust (dir. F. W. Murnau, 1926) or in A Lesson in Faust (dir. Jan Svankmayer, 1994). This also affects legends such as that of the Alcalde de Zalamea, two of whose versions are recast in La Leyenda del Alcalde de Zalamea (dir. Mario Camus, 1975). Less evidently, this phenomenon extends to figures such as that of Inés de Castro, whose presence is widely found in the Portuguese, Spanish, English and French theatrical traditions and which was transferred to the French and Portuguese screen with the films The Dead Queen (dir. Pierre Boutron, 2009) or Pedro ê Inés (dir. António Ferreira, 2018) and the television series Pedro ê Inés (dir. João Cayatte, 2005). These examples demonstrate that the audiovisual appropriation of this theatrical legacy is a complex phenomenon that requires sustained attention from scholars of different theatrical traditions.

Inaugural CIRCE virtual conference

During these FIRST CIRCE CONFERENCES, we will address this complex theatrical legacy together. We will establish links and deep relationships between plays from different traditions transferred to the screen. We will identify trends in the adaptation of early modern European theatre in different audiovisual media, paying attention to different aspects of adaptation. Likewise, we will try to construct holistic visions on the reception of European theatre on the screen.
To this end, we will examine a large corpus of audiovisual adaptations of early modern plays, paying attention to such angles as:

•       Transposition of plays from stage to screen
•       Ideological readings of these adaptations from multiple perspectives
•       Emergence of new forms of audiovisual adaptation of theatre in times of pandemic
•       Analysis of scripts as literary adaptations of theatrical texts
•       Work of directors, performers, musicians and other members of technical casts
•       Analysis of audiovisual conventions in early modern theatre adaptation
•       Translation-based, spatial, paratextual and intertextual approaches
•       Transnational approaches
•       Gender perspectives
•       Other

Keynote Speakers

ALBA CARMONA LÁZARO (Universitet i Bergen)

A pioneer in the study of new comedy in film adaptation, particularly in Spain, Germany and the Soviet Union, she is the author of, among others, Las reescrituras fílmicas de la comedia nueva: un siglo en la gran pantalla (2020) and Unos clásicos… ¡de cine! El teatro del Siglo de Oro en el lienzo de plata (1914-1975) (2021), preceded by the exhibition at Casa Museo Lope de Vega of Madrid.

RAMONA WRAY (Queen’s University Belfast)

Author of Women Writers of the Seventeenth Century (2004), co-author of Great Shakespeareans: Welles, Kurosawa, Kozintsev, Zeffirelli (2015), editor of Elizabeth Cary Arden’s The Tragedy of Mariam Early Modern Drama (2012), she is also co-editor and contributor to a voluminous number of monographs related to Shakespeare on screen.

Scientific Committe
PASCALE AEBISCHER (University of Exeter) JOSEFA BADÍA HERRERA (Universitat de València) ELENA BANDÍN FUERTES (Universidad de León) SYLVAINE BRENNETOT (Université Paul-Valéry Montpellier 3) JOSÉ CAMOES (Centro de Estudos de Teatro/Universidade de Lisboa) RUI CARVALHO HOMEM (Universidade do Porto) JUAN FRANCISCO CERDÁ MARTÍNEZ (Universidad de Murcia) PASCALE DROUET (Université de Poitiers) SEBASTIANA FADDA (Centro de Estudos de Teatro/Universidade de Lisboa) PURIFICACIÓN GARCÍA MASCARELL (Universitat de València) ROSA GARCÍA PERIAGO (Universidad de Murcia) SARAH HATCHUEL (Université Paul-Valéry Montpellier 3) ESTHER LÁZARO SANZ (Universitat Autònoma de Barcelona) MIGUEL MARTÍNEZ LÓPEZ (Universitat de València) JOAN OLEZA SIMÓ (Universitat de València) PEDRO JAVIER PARDO GARCÍA (Universidad de Salamanca) JUANA INÉS RODRÍGUEZ GÓMEZ (Universitat de València) JESÚS TRONCH PÉREZ (Universitat de València) NATHALIE VIENNE-GUERRIN (Université Paul-Valéry Montpellier 3) RAMONA WRAY (Queen’s University Belfast) RETO WINCKLER (Normal University of China) JUAN CARLOS HIDALGO CIUDAD (Universidad de Sevilla)

Organising Committe
ANNA MARÍA BRÍGIDO COCHARÁN (Universitat de València) ELENA CASTELLANO ORTOLA (Universitat de València) LUIS CONEJERO MAGRO (Universidad de Extremadura) ANA FERNÁNDEZ CAPARRÓS (Universitat de València) MARÍA GAVIÑA COSTERO (Universitat de València) CARMINA GRIGORI SIGNES (Universitat de València) ROCÍO GUTIÉRREZ SUMILLERA (Universidad de Granada) ARTURO MORA-RIOJA (KEA – Københavns Erhvervsakademi) VÍCTOR HUERTAS MARTÍN (Universitat de València) SILVIA HUESO FIBLA (Universitat de València) LAURA MONRÓS GASPAR (Universitat de València) RAFAEL NEGRETE PORTILLO (Universidad Complutense de Madrid) NORA RODRÍGUEZ LORO (Universidad de Salamanca) DIEGO ERNESTO PARRA SÁNCHEZ (Universitat de València) NEL DIAGO (Universitat de València)

The conference will be held online on 1-3 June 2022 at the Faculty of Philology, Translation and Communication of the University of Valencia.

Submissions

Contributors should write to Silvia Hueso-Fibla enclosing:

1.      A 300-400-word abstract explaining their proposal. We recommend the following structure: hypothesis, objectives, methodology, structure, summary of expected conclusions, bibliography (not included in word count).

2.      An auto-biography (100-200 words).


The deadline for submitting proposals is 15 January 2022. Acceptances will be communicated on 15 February 2022. The deadline for payment of the registration fee is 31 March 2022.

A selection of proposals will be included in the volume that will be published with the results of the conference.

The fee to take part in the conference will be 50 euros (established academics) or 25 euros (doctoral students or postgraduate and undergraduate students).

We hope to be able to count on you for what we believe will be an unforgettable experience.

NOTE: Papers may be submitted in any of the languages corresponding to the five European theatre traditions of the 16th and 17th centuries: Italian, French, Spanish, Portuguese and English.

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