In odd numbered years since the first October that the Blackfriars Playhouse was open, scholars from around the world have gathered in Staunton, during the height of the Shenandoah Valley’s famed fall colors, to hear lectures, see plays, and learn about early modern theatre. In 2017, the American Shakespeare Center’s Education and Research Department will once again host Shakespeareans, scholars and practitioners alike, to explore Shakespeare in the study and Shakespeare on the stage and to find ways that these two worlds – sometimes in collision – can collaborate. Past conferences have included such notable scholars as Andrew Gurr, the “godfather” of the Blackfriars Playhouse, Russ McDonald, Gary Taylor, Stephen Greenblatt, Roz Knutson, Tina Packer, Scott Kaiser, Stephen Booth, George T. Wright, and many more in five days full of activities. Each year we also honor a scholar who has made great impacts in the theatre field: previous honorees have included C. Walter Hodges (2005), Alan Dessen (2007), Andrew Gurr (2009), Stephen Booth (2011), George Walton Williams (2013), and Barbara Mowat (2015).
This conference distinguishes itself from saner conferences in a variety of other ways. First, to model the kind of collaboration we think possible, we encourage presenters to feature actors as partners in the demonstration of their theses. For instance, in 2009, Gary Taylor’s keynote presentation “Lyrical Middleton” featured ASC actors singing and dancing to the songs in Middleton’s plays; in 2015, Tina Packer and James Loehlin worked with ASC actors on scenes from Antony and Cleopatra with Blackfriars Conference participants witnessing rehearsal room challenges. Second, we limit each paper session to six short papers (10 minutes for solo presentations, 13 minutes for presentations with actors). Third, we enforce this rule by ursine fiat – a bear chases from the stage those speakers who go over their allotted time.
One to four short paper sessions are held daily during the conference, with approximately four to six papers each. Each session lasts 60 to 75 minutes. Each day of the conference will also include round table discussions, chaired by MBU faculty or ASC research staff, with up to 12 participants discussing specific areas of interest, which could include cross gendered casting, race, staging disability, new media tools and the interaction with performance, original practice/staging, and rhetoric. Early risers can also take advantage of our one hour Wake Up workshops prior to the start of the day offered by the education staff.
In 2017, we are extending the opportunity to take part in a staging session. Applicants should be experts on Shakespeare's text who are willing to collaborate with ASC actors. After choosing a crux -- a moment that as a director, scholar, or actor, you have struggled with -- you will present a direction and your explication of your thinking to the actors. The actors will then collaborate with you to experiment with the crux moment. Two respondents will then have the opportunity to explore other possible options.
Attendees will also have the opportunity to attend four Lunch and Learn sessions, with each session focusing on a different topic. For example, Thursday's Lunch and Learn will be an informal discussion about Shakespeare translations into signed languages with Scholar/ASL interpreter Lindsey D. Snyder and Professor of English from Gallaudet University, Jill Bradbury. We will discuss the different aspects of translation and various productions that include American Sign Language, British Sign Language, Tactile American Sign Language/Pro-Tactile, and gesture. We will also be answering any questions about the process of translation and adaptation into signed languages for the stage.
Delegates also have the opportunity to attend all of the plays in the ASC 2017 Fall Season: The Fall of King Henry (Henry VI, Part Three), Peter and the Starcatcher, Love's Labour's Lost, and Much Ado about Nothing.