Next week I’ll be participating in a online festival of staged readings composed entirely of early modern history plays not written by Shakespeare, hosted by the Brave Spirits theatre company. Here’s a little more info from their website:
BST’s online reading festival celebrates history plays of the English early modern stage, revealing the breadth and popularity of the history genre during Shakespeare’s era. Including works by playwrights such as Christopher Marlowe, Thomas Heywood, George Peele, and John Ford, these plays span historical events from 1199 to 1499 and live in conversation with Shakespeare’s history plays, providing source material and alternate versions of events and characters.
You can find the details for the whole run here; I’ll be reading Constance in George Peele’s King John on Monday, May 11 at 7:30 p.m. eastern time, so if you’ve ever wanted to see me do verse, now’s your chance! Hope you’ll join us.
The third part of the What Acting IS feature is now live on the Folger’s Collation blog! This post explores the idea of mentality in actor-centered criticism and is where you’ll find most of my contributions (in regard to signifiers of madness in early modern drama and culture). You can read it here.
The second part of the What Acting IS feature is now live on the Folger’s Collation blog! This installment addresses the question of temporality in actor-centered criticism; you can find it here.
Last semester I had the opportunity to participate in a seminar at the Folger Shakespeare Library which explored the tensions and collaborations between academic and practical approaches to dramatic texts. At the end of our sessions, the members of the seminar co-authored a series of blog posts, the first of which has been posted to the Folger’s Research & Exploration blog, The Collation. If you have any interest in Shakespeare, theatre, or actor-centered criticism, I hope you’ll take a minute to read it here.