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Gabriel Egan's essays on "The Playhouses” and "The Countryside" have recently been published in The Cambridge Guide to the Worlds of Shakespeare edited by Bruce R. Smith (2016).

 

More information here.



Gabriel Egan's essay on "Shakespeare and the Impact of Editing" has just appeared in the collection Shakespeare's Cultural Capital edited by Siobhan Keenan and Dominic Shellard for Palgrave Macmillan (2016).

 

More information here.



Dr. Gary Taylor co-authors "Imitation or Collaboration? Marlowe and the Early Shakespeare Canon" with John V. Nance.

 

The article can be found in volume 68 of Shakespeare Survey and investigates Marlowe's influence and role in the early works of Shakespeare.

 

View the first page of the article here.

 

You can also purchase the volume here.



The NOS’s own Gabriel Egan’s recently published and article entitled "Press Variants in Q2 Hamlet: An Accident on N (outer)". It has been published in the most recent volume of Studies in Bibliography (2015).

 

Read the full article here.



Dr. Terri Bourus's Young Shakespeare's Young Hamlet: Print, Piracy, and Performance now available.

 

One of the most vexing textual, theatrical, and interpretive puzzles in Shakespeare studies is the existence of three different versions of Hamlet. In her forthcoming book, the New Oxford Shakespeare's Dr. Terri Bourus argues that the puzzle of the Hamlets can only be solved by drawing on multiple kinds of evidence and analysis, including history of the book, theatre history, biography, performance studies, and close readings of textual variants. Combining the history of print culture with practical theatrical experience and special attention to Hamlet's women, Bourus presents a case study of the "dramatic intersections" between Shakespeare's literary and theatrical working practices. In the process, she reshapes our assumptions about the beginning of Shakespeare's career and his artistic evolution.

 

Find more information here.



Dr. Gary Taylor publishes essay on Middleton’s adaptation of MacBeth, responds to Brian Vickers

 

Dr. Gary Taylor’s reply to Vickers on the issue of Middleton’s adaptation of Macbeth was printed in the 2014 Norton Critical Edition of Macbeth (edited by Robert Miola). "Macbeth and Middleton (2014)" by Gary Taylor, from Macbeth, Norton Critical Edition, 2014Robert S. Miola, ed. 

Download the Essay (PDF)



Dr. Rory Loughnane, of the NOS, serves as one of the guest editors for 2014's Yearbook of English Studies

 

Dr. Loughnane's article "Reputation and the Red Bull Theatre, 1625-42" can be found in this recently published volume on Caroline Literature.

 

Preview and access the issue here.



Dr. Terri Bourus & Dr. Gary Taylor's article, "Measure for Measure(s): Performance-testing the Adaptation Hypothesis", published in the January issue of the Routledge Shakespeare Journal

 

 In early 2013 Hoosier Bard staged the first double-bill production of two versions of Measure for Measure, based on John Jowett's “genetic text” of the play in the Oxford Middleton. One version was the familiar Folio text, set in Vienna, allegedly an adaptation by Middleton in 1621. The other version was a conjectural reconstruction of the play written entirely by Shakespeare and performed by the King's Men in 1604; this version removed material attributed to Middleton, and set the play in Ferrara, Italy. The cast and crew worked on the play for eight weeks. This experiment demonstrated that some small changes identified by Jowett (“O death's a great disguiser” and the transposed third and fourth scenes) made no discernible difference. However, overall, actors and audiences found the two versions powerfully different. We consider various scholarly objections made to the adaptation hypothesis since 1994, and test them against performance and rehearsal experience and audience responses. Our illustrated analysis focuses on the trajectory of characters, with particular attention to Julietta, Mariana, Overdone, Isabella, Lucio, Escalus and the Duke. Although the Middleton adaptations constitute only 5% of the text, they affect the beginning of 50% of the play's characters. Typically of Middleton, they particularly expand and complicate female roles, and make expressive use of silent action. We provide new evidence that the play was adapted specifically for Blackfriars, and suggest that the presence of a concluding jig (in 1604, but not 1621) affects interpretation of the ending. We relate the pattern of adaptation to the physical properties of actors' parts, and the fact that all but one of the original cast was no longer performing in 1621. We also argue that interpretation of the original play and the adaptation were powerfully affected by audience assumptions about the opposed geographical sites (Ferrara and Vienna) and by major shifts in attitudes (between 1604 and 1621) toward King James, war, Catholicism, the economy, and freedom of speech. We conclude that both texts work in performance, but work differently, in ways related to the different dramaturgies of Shakespeare and Middleton.

 

More information here.



Dr. Terri Bourus's recent review of The Michael Grandage Company's A Midsummer Night's Dream published in the latest issue of Shakespeare Bulletin

 

Read the full review here.



Dr. Terri Bourus's new essay, "Counterfeiting Faith: Middleton’s Theatrical Reformation of Measure for Measure" to be included in the forthcoming  Stages of Engagement: Drama and Religion in Post-Reformation England

 

In the forthcoming Stages of Engagement, edited by James D. Mardock and Kathryn R. McPherson, Dr. Bourus discusses the historical, philosophical, and religious underpinnings of Middleton's adaptation of Measure for Measure.  

 

Read more about the volume here.



NOS Associate Editor Rory Loughnane to deliver the School of English Open Lecture at University College Cork

 

NOS Associate Editor Rory Loughnane will deliver a lecture, "Re-Editing 'Shakespeare,'" on Monday, 28th April at the O'Rahilly Building, University College Cork. Following the lecture, there will be a reception to celebrate the launch of Loughnane's co-edited collection of essays, Staged Transgression in Shakespeare's England.


Click here for more information about Dr. Loughnane's lecture.



Staged Transgression in Shakespeare's England

 

Staged Transgression in Shakespeare's England is a groundbreaking collection of essays that draws together leading and emerging scholars to investigate performances of transgression on the early modern English stage. Building on recent scholarship in studies of performance, politics, gender, sex, and race, this collection seeks to assess, respond to, and look beyond the last concentrated critical discussion of transgression in the 1980s. This collection explores areas of study that have been previously neglected in scholarly discussion and seeks to challenge critical orthodoxies and assumptions about the power and effect of onstage performances of illicit, deviant and disorderly behaviour. Contributors examine a wide range of onstage activities - from drunkenness and spitting to murder and rebellion - and offer fresh insights into the cultural work of theatre in Shakespeare's England.

 

Get the book here.



Download data from The Creation and Re-creation of Cardenio, edited by NOS General Editors Terri Bourus and Gary Taylor

 

The complete set of Literature Online (LION) and Early English Books Online (EEBO) data as presented in John V. Nance's essay, "Shakespeare, Theobald, and the Prose Problem in Double Falsehood" in The Creation and Re-creation of Cardenio is available for download below.

Click here to access John V. Nance's data.



NOS General Editor Terri Bourus's reviews of Measure for Measure and Henry VIII published in Shakespeare Bulletin


Terri Bourus reviews the Chicago Shakespeare Theater's Henry VIII and the Goodman Theatre's Measure for Measure for the Fall 2013 edition of the Shakespeare Bulletin journal.


Excerpt (in lieu of an abstract):


Entering the Shakespeare-friendly 500-seat Courtyard Theatre with its thrust stage and intimate galleries, the first thing the audience saw was a huge black banner with “Henry VIII” scrolled out in massive gold gothic letters, hanging over the stage. It looked like a piece of empty, pretty scenery. But then the play began as an unexpectedly operatic adaptation of the start of a Catholic High Mass in the old Latin style. Accompanied by swelling liturgical organ and chorus, a procession of scarlet-cloaked churchmen entered from the back of auditorium center. They were led by Wolsey, who dragged behind him an enormous scarlet train, with a large fluted golden cross in the middle: a cross that covered the entire thrust stage once the Cardinal had reached what might have been imagined as the foot of the altar. Standing upstage center with his back to the audience/congregation, Wolsey unclasped and dropped the cape. It then became a curtain, soaring over the stage as it was raised high with the cross front-and-center, completely blotting from view the name of the king. Before the speeches even began, the production thus visually established that Wolsey and the Catholic Church he represented were more powerful than the King of England. But over the course of the play that scarlet Whore of Babylon would be gradually replaced by the trim Anglican-vestmented Cranmer, and the final christening of the baby Elizabeth was spectacularly celebrated with a shower of gold stars falling onto King Henry’s dazzling diamond-studded crown and gold silk cape as he held the infant in his arms.


Find the full review here.



NOS Associate Editor Rory Loughnane publishes essay in The Arts of Remembrance in Early Modern England


NOS Associate Editor Rory Loughnane's essay, "The artificial figures and staging remembrance in Webster’s The Duchess of Malfi" is featured in the The Arts of Remembrance in Early Modern England: Memorial Cultures of the Post Reformation, co-edited by Andrew Gordon (University of Aberdeen, UK) and Thomas Rist (University of Aberdeen, UK).


Description:


The early modern period inherited a deeply-ingrained culture of Christian remembrance that proved a platform for creativity in a remarkable variety of forms. From the literature of church ritual to the construction of monuments; from portraiture to the arrangement of domestic interiors; from the development of textual rites to drama of the contemporary stage, the early modern world practiced 'arts of remembrance' at every turn. The turmoils of the Reformation and its aftermath transformed the habits of creating through remembrance. Ritually observed and radically reinvented, remembrance was a focal point of the early modern cultural imagination for an age when beliefs both crossed and divided communities of the faithful. The Arts of Remembrance in Early Modern England maps the new terrain of remembrance in the post-Reformation period, charting its negotiations with the material, the textual and the performative.


Find Dr. Loughnane's essay here



Terri Bourus and Gary Taylor's The Creation and Re-creation of Cardenio now available


The Creation and Re-creation of Cardenio: Performing Shakespeare, Transforming Cervantes, co-edited by NOS General Editors Terri Bourus and Gary Taylor, is now available from Palgrave.


Description:


Did Shakespeare really join John Fletcher to write Cardenio, a lost play based on Don Quixote? In 2009, the world's first academic symposium dedicated to the "lost play" was convened in New Zealand. Since then, a flurry of activity has confirmed the play's place in the literary canon. Drawing on cutting-edge scholarship and organized around the first full-scale production of Gary Taylor's recreation of the Jacobean play, these sixteen essays suggest the play was not "lost" but was instead deliberately "disappeared" because of its controversial treatment of race and sexuality. Breaking new ground, this collection gives equal attention to Shakespeare, Cervantes, and Fletcher. With an emphasis on the importance of theatrical experiment and performance, a copy of Taylor's script, a photographic record of Bourus's production, and historical research by respected scholars in the fields of early modern England and Spain, this book makes a bold and definitive statement about the collaborative nature of Cardenio.


Get the book here.



NOS General Editor Terri Bourus's work highlighted by IUPUI's Office of the Vice Chancellor for Research


Terri Bourus speaks about her work with the New Oxford Shakespeare project and Hoosier Bard Productions in the most recent edition of the Research Enterprise Newsletter.


Read the article here



NOS Associate Editor Rory Loughnane publishes Celtic Shakespeare: The Bard and The Borderers


Celtic Shakespeare: The Bard and The Borderers, a collection of essays co-edited by NOS Associate Editor Rory Loughnane and Professor Willy Maley (University of Glasgow) is now available from Ashgate.


Description:


This volume draws together some of the leading scholars in the field of Shakespeare studies in order to examine the commonalities and differences in addressing a notionally ’Celtic’ Shakespeare. Matthew Arnold famously claimed in The Study of Celtic Literature (1867) that Shakespeare ‘touches the Celtic note so exquisitely that perhaps one is inclined to be always looking for the Celtic note in him’. Shakespeare’s Celticness extends to the Welsh title, Bard of Avon, with which he’s honoured (the appellation is doubly Welsh, bardd yr afon, literally the poet of the river). Celtic contexts have been established for many of Shakespeare’s plays, not just the histories, with their Irish, Scottish and Welsh characters, but the tragedies too, and the romances, as the Welshness of Cymbeline and King Lear, the Irishness of The Tempest, and the Scottishness of Hamlet have been explored by successive scholars. There has been interest too in the ways in which Irish, Scottish and Welsh critics, editors and translators have reimagined Shakespeare, claiming, connecting with, and correcting him.


Historians have begun to map out in some detail the interconnections between the non-English nations in the early modern period, and the implications of this latticework of links for modern British and Irish history. This collection will fill a major gap in literary criticism by bringing together the best scholarship on the individual nations of Ireland, Scotland and Wales in a way that emphasizes cultural crossovers and crucibles of conflict. The volume is divided into three chronologically ordered sections: Tudor, Stuart and Subsequent Reception. This division of essays directs attention to Shakespeare’s transformed treatment of national identity in plays written respectively in the reigns of Elizabeth and James, but also takes account of later regional receptions and the cultural impact of the playwright’s dramatic works. The first two sections contain fresh readings of a number of the individual plays, and pay particular attention to the ways in which Shakespeare attends to contemporary understandings of national identity in the light of recent history. Juxtaposing this material with subsequent critical receptions of Shakespeare’s works, from Milton to Shaw, this volume addresses a significant critical lacuna in Shakespearean criticism. Rather than reading these plays from a solitary national perspective, the essays in this volume cohere in a wide-ranging treatment of Shakespeare’s direct and oblique references to the archipelago, and the problematic issue of national identity.


For more information on the essay collection, click here.



Gary Taylor delivers lecture for ShaLT Expert Lecture Series at the Victoria & Albert Museum


NOS General Editor Gary Taylor delivered a lecture, “1+1=3: Why Shakespeare Collaborated with Other Playwrights” as part of Shakespearean London Theatres’ Season of Expert Lectures on London’s Playhouses, 1567-1642 Series at the Victoria & Albert Museum.


Abstract:


Collaborative authorship of plays was common in the early London theatre, but bardolators have either denied the abundant evidence that Shakespeare collaborated, or lamented that he did. Theatre as an art form originates in dialogue, and--as plays like Timon of Athens and All is True demonstrate--the interaction between duelling artistic egos can inspire theatrical experiences that neither poet could have imagined on his own.


Click here for a recording of the lecture.



NOS associate editor Rory Loughnane publishes Late Shakespeare, 1608-1613


NOS Associate Editor Rory Loughnane and Andrew J. Power (Trinity College, Dublin) are the co-editors of Late Shakespeare, 1608-1613, published by Cambridge University Press. Read Dr. Loughnane's interview about the book here.


Description:


In fourteen specially commissioned chapters by leading Shakespeare scholars from around the globe, Late Shakespeare, 1608–1613 provides an essential re-appraisal of the final phase of Shakespeare's writing life. Arranged for the first time in the best-established chronological sequence, Shakespeare's last seven extant plays are discussed in detail in dedicated chapters, from Pericles to the late co-authored works, King Henry VIII and The Two Noble Kinsmen. The plays are situated in the context of Shakespeare's financial investments, his focus on the practice of reading, the changing nature of his acting company and the pressing issues of contemporary politics and urban life. The book also goes on to explore the relationship between Shakespeare and his audience and considers the dominant themes in his final works. Analysing and responding to the latest criticism in the field, this volume brings to light a vital re-examination of what it means to discuss 'late Shakespeare'.

Click here for a closer look at the book.

Review: The Quest for ‘Cardenio’ edited by David Carnegie and Gary Taylor


Click here to read Hugh Craig’s review of The Quest for ‘Cardenio’: Shakespeare, Fletcher, Cervantes, and the Lost Play, edited by David Carnegie and NOS General Editor Gary Taylor.