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Rewriting Shakespeare’s Plays For and By the Contemporary Stage. January 1st 2014
full name / name of organization:
Shakespeare Institute. University of Birmingham. UK. University of Maine, Le Mans. France.
firstname.lastname@example.org and email@example.com
Rewriting Shakespeare’s Plays For and By the Contemporary Stage
Why have contemporary playwrights been obsessed by Shakespeare’s plays to such an extent that they have offered their own versions of most of his works? Edward Bond’s Lear and Heiner Müller’s Hamlet-Machine, Carmelo Bene’s Richard III and Eugène Ionesco’s Macbett, Arnold Wesker’s Merchant and Tom Stoppard’s Rosencrantz and Guildenstern are Dead, are all landmarks in both modern theatre and in the rereading of Shakespeare. Others such as Howard Barker’s Gertrude, The Cry or Bernard Marie Koltès’s Le Jour des Meurtres dans l’histoire d’Hamlet, Botho Strauss’s Rape and Normand Chaurette’s Les Reines, have also tackled relevant issues using different writing techniques and aiming at new dramatic perspectives.
Originating from various countries, contemporary authors have provided food for thought on issues such as Shakespearean role-playing, narrative and structural re-shuffling, and the political implications and cultural stakes of repeating Shakespeare with and without a difference, finding inspiration in their own national experiences and in the different ordeals they have undergone.
In this collection of essays, authors are invited to examine modern rewritings of Shakespeare from both theoretical and pragmatic standpoints. Key questions may include:
Papers may focus on Shakespeare’s sources and either one ore more rewritings of his works, in whatever medium or genre.
Academics, creative writers and theatre practitioners alike are welcome to send a 300-word synopsis and a short bibliography to firstname.lastname@example.org and email@example.com before January 1st 2014. Papers that will have received formal agreement should be completed in May 1st 2014.