Shakespeare Bulletin
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Peer-reviewed quarterly journal, publishing articles at the cutting edge of early modern performance studies. Posts by Dr. Peter Kirwan and Katy Shinas.
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If you're interested in production photography, check out your local library! Kimball’s recommendation is William Kenyon’s Theater & Stage Photography: A Guide to Capturing Images of Theatre, Dance, Opera, and Other Performance Events.
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"In my work at Brave Spirits Theatre, as both the resident dramaturg and production photographer, I had helped to build an archive of documents and photographs which memorialized our performances of early modern drama over several years.
“The reality of the company’s closure, however, prompted me to reflect on the choices I had made behind the lens and consider how they were informed by my viewpoint as a dramaturg. The essay argues that my dual role strengthened the company’s archival legacy and that fellow practitioners can use photography to integrate more collaborative perspectives into the record of early modern drama in performance." over a dark orange background with the SB logo.
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"This essay developed in the wake of the pandemic when the theater company I’d been collaborating with suddenly closed due to the strains of lockdown.
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Today’s Extra Credit focuses on Claire Kimball’s open-access article, “Photographing Early Modern Drama in Performance: A Visual Dramaturgy.” Check out these open-access resources to go along with this open-access article!

📰: muse.jhu.edu/pub/1/articl...
“EXTRA CREDIT WITH Claire Kimball” over a dark orange background with the SB logo.
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ThinkND's "Shakespeare and Possibility" series' podcast featuring Jennifer T. Birkett interviewing Professor Peter Holland and Vanessa Morosco about her role as director of Hamlet 50/50 at the Notre Dame Shakespeare Festival: think.nd.edu/bq/snd-4/#14...
think.nd.edu
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An interview with the creators of the 50/50 Shakespeare Project: facebook.com/watch/?v=835575881072130
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For more information on the 50/50 Shakespeare Project, which aims to equally distribute lines and status between male and female characters: 5050shakespeare.com/
50/50 Shakespeare Project: Creating gender equity in the workplace of Shakespeare's plays.
50/50 Shakespeare Project: Creating gender equity in the workplace of Shakespeare's plays.
5050shakespeare.com
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Today’s Extra Credit focuses on Jennifer T. Birkett’s open-access article, “New Solutions to Old Problems: Gender Equity and the 50/50 Shakespeare Project.” Check out these open-access resources to go along with this open-access article!

📰: muse.jhu.edu/pub/1/article/956896
“EXTRA CREDIT WITH Jennifer T. Birkett” over a dark orange background with the SB logo.
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Vanessa I. Corredera reviews the Globe’s 2024 production of Much Ado About Nothing, dir. Sean Holmes.

🎭: www.shakespearesglobe.com/whats-on/muc...

📰: muse.jhu.edu/pub/1/article/956911

📷: Marc Brenner
An image of Benedick (Ekow Quartey) and Beatrice (Amalia Vitale) standing in front of a backdrop of trees over a dark orange background with the SB logo and the text “Quartey and Vitale [as Benedick and Beatrice] [. . .] shared credible chemistry, delivering their barbs with enough vinegar to convey reticence about, if not outright hurt over, the possibility of falling in love—especially with each other—while at the same time seeming to relish one another’s intelligence.”
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Dan Venning reviews FRIGID New York, Something from Abroad, and Quemoción’s 2023 production of Hamlet: La Telenovela, dir. Federico Mallet.

🎭: frigid.nyc/something-fr...

📰: muse.jhu.edu/pub/1/article/956910

📷: Miguel Garzón Martínez
An image of Horacio (Martha Preve Ayora) and Hamlet (Federico Mallet) in Hamlet: La Telenovela over a dark orange background with the SB logo and the text “Hamlet: La Telenovela provided a theatrically compelling challenge to the Eurocentric canon that continues to revere Shakespeare as Bloomian ‘inventor of the human.’”
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Dan Venning reviews Patrick Page’s 2023 production of All the Devils are Here, dir Simon Godwin.

🎭: allthedevilsplay.com

📰: muse.jhu.edu/pub/1/article/956910

📷: Julieta Cervantes
An image of Patrick Page in All the Devils are Here over a dark orange background with the SB logo and the text “Page’s virtuosic mastery as a performer made each character riveting and his assertions about the psychological foundations of Shakespearean villainy totally convincing, at least while watching him perform.”
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Burak Urucu reviews Moda Sahnesi’s 2024 production of Othello, dir. Kemal Aydoğan.

🎭: www.modasahnesi.com/events/othel...

📰: muse.jhu.edu/pub/1/article/956909

📷: Orçun Kaya
An image of Othello (Caner Cindoruk) and Iago (Ahmed Saka) over a dark orange background with the SB logo and the text “Saka’s performance as Iago was modest: his body language was humble and delicate, and his voice was striking with its soft, thin tone. His gradual change to an empowered manipulator was delivered seamlessly.”
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Anna Kamaralli reviews Sport for Jove’s 2024 production of I Hate People; or Timon of Athens, dir. Margaret Thanos.

🎭: www.sportforjove.com.au/timon-of-ath...

📰: muse.jhu.edu/pub/1/article/956908

📷: Kathy Luu
An image of Timon (Damien Ryan) leaning into Flavia (Deborah Galanos) over a dark orange background with the SB logo and the text “This production showed that [Timon] was never without a few, core people who (whatever their own flaws) truly cared about him, but that he treated them as badly as he did those who were actually exploiting him.”
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Liesl Jensen reviews the Colorado Shakespeare Festival’s 2024 production of Arden of Faversham.

🎭: cupresents.org/performance/...

📰: muse.jhu.edu/pub/1/article/956907

📷: Jennifer M. Koskinen
An image of Prompter (Heidi Schmidt), Will (Sean Scrutchins), Thomas Arden (Lavour Addison), Alice Arden (Noelia Antweiler), Shakebag (Jacob Dresch), and Mosby (Ryan Omar Stack) over a dark orange background with the SB logo and the text “In keeping with the farcical energy [. . .] violence was staged as comedy. Dummy pistols were given sound by actors shouting ‘Bang!’, and rubber daggers visibly wiggled throughout Arden’s successful murder.”
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Erin Julian reviews Crow’s Theatre’s 2024 production of The Land Acknowledgement or As You Like It, created by Cliff Cardinal.

🎭: www.mirvish.com/shows/the-la...

📰: muse.jhu.edu/pub/1/article/956906

📷: Dahlia Katz
An image of Cliff Cardinal wearing a hoodie and jacket in front of a simple curtain over a dark orange background with the SB logo and the text “Ultimately, the show invited audiences to consider just why Shakespeare is so important, while also exploiting Shakespeare’s cultural capital to make space for Indigenous voices and stories.”
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Here's a sneak peak of our interview with Jennifer Low, the editor of the special reviews section on the Ukrainian Shakespeare Festival.
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NEW ISSUE KLAXON: Shakespeare Bulletin 42.4 features Claire Kimball's essay on visual dramaturgy, Jennifer Birkett's essay on the 50/50 Shakespeare project, and a special reviews section on the Ukrainian Shakespeare Festival.

📰: muse.jhu.edu/issue/53960
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The countdown to 42.4 begins! Stay tuned for articles from Claire Kimball and Jennifer T. Birkett, as well as a special section of reviews on the Ukrainian Shakespeare Festival.