Podcast appearances and mentions of tiffany stern

In this episode, Professor Tiffany Stern discusses her books and tells us about rehearsal practices, ballads, and popular entertainments in Shakespeare's day. She also tells us about being a general editor and editing The Tempest. For a complete episode transcript, click http://www.womenandshakespeare.comInterviewer: Varsha PanjwaniGuest: Tiffany Stern Researchers:  Sonia Kukula & Annika Suderburg  Producers:   Isabella DeJoy & Emma Munson Transcript: Benjamin PooreArtwork: Wenqi WanSuggested Citation:  Stern, Tiffany in conversation with Panjwani, Varsha (2024). Tiffany Stern on Rehearsal Practices, Ballads, Popular Entertainments [Podcast], Series 4, Ep. 6. http://womenandshakespeare.com/Twitter: @earlymoderndoc Insta: earlymoderndocEmail: earlymoderndoc@gmail.com

Thomas Dabbs talks with Tiffany Stern of the Shakespeare Institute, University of Birmingham, about her recent perspectives on ballads in early modern drama, on Edmond Malone's 18th-century scholarship, and on her editorial work in Shakespeare and 16th-century literature

In Part 3, Professor Tiffany Stern offers close-readings of some of the play's most significant speeches. You'll discover the surprising biblical resonances in a speech by the foolish Bottom and see how the epilogue shifts the play from a story about magic to a magic spell placed on the audience itself. Speeches and Performers: Titania, 2.1, “Set your heart at rest: The Fairyland buys not the child …” (Amanda Harris) Bottom, 4.1, “When my cue comes, call me …” (Dame Harriet Walter) Oberon, 5.1, “Now, until the break of day …” and Puck, “If we shadows have offended …” (Kelly Hunter, MBE) Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

In Part 3, Professor Tiffany Stern offers close-readings of some of the play's most significant speeches. You'll discover the surprising biblical resonances in a speech by the foolish Bottom and see how the epilogue shifts the play from a story about magic to a magic spell placed on the audience itself. Speeches and Performers: Titania, 2.1, “Set your heart at rest: The Fairyland buys not the child …” (Amanda Harris) Bottom, 4.1, “When my cue comes, call me …” (Dame Harriet Walter) Oberon, 5.1, “Now, until the break of day …” and Puck, “If we shadows have offended …” (Kelly Hunter, MBE) Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Part 2 addresses the play's central questions about comedy, tragedy, and passion by examining its language and plot motifs. Professor Tiffany Stern will guide you through the play's sometimes dark, sometimes humorous, but always honest exploration of love — where it comes from and why it doesn't always make sense. You'll also discover how A Midsummer Night's Dream reflects the way that Shakespeare's own company performed his plays, and why that knowledge can help you become a better reader of Shakespeare. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Part 2 addresses the play's central questions about comedy, tragedy, and passion by examining its language and plot motifs. Professor Tiffany Stern will guide you through the play's sometimes dark, sometimes humorous, but always honest exploration of love — where it comes from and why it doesn't always make sense. You'll also discover how A Midsummer Night's Dream reflects the way that Shakespeare's own company performed his plays, and why that knowledge can help you become a better reader of Shakespeare. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

A Midsummer Night's Dream is one of Shakespeare's most popular romantic comedies. At the same time, it's a play that explores the darker and more dangerous side of love. Four young lovers flee into the forest where their romantic entanglements become even more entangled thanks to the magic of the fairy king, Oberon — who also puts a spell on his wife, Titania, so she falls in love with Bottom, a man with an enchanted donkey's head. In this course, you'll learn the story of A Midsummer Night's Dream, discover how the play's fantastical elements actually represent universal issues in our everyday lives, and hear the play's key speeches performed and analyzed by world-class Shakespearean actors and literary scholars. In Part 1, you'll be guided through a detailed account of the story with commentary by Tiffany Stern, Professor of Shakespeare and Early Modern Drama at the Shakespeare Institute. Professor Stern discusses the play's context, structure, and distinctive mix of comedy and tragedy, as created by the “play-within-a-play” — the “tragic” story of Pyramus and Thisbe performed by one group of characters to celebrate the others' weddings. This summary is told using the language of the play itself, placing key quotations in context to help you understand where these lines come from and what they mean.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

A Midsummer Night's Dream is one of Shakespeare's most popular romantic comedies. At the same time, it's a play that explores the darker and more dangerous side of love. Four young lovers flee into the forest where their romantic entanglements become even more entangled thanks to the magic of the fairy king, Oberon — who also puts a spell on his wife, Titania, so she falls in love with Bottom, a man with an enchanted donkey's head. In this course, you'll learn the story of A Midsummer Night's Dream, discover how the play's fantastical elements actually represent universal issues in our everyday lives, and hear the play's key speeches performed and analyzed by world-class Shakespearean actors and literary scholars. In Part 1, you'll be guided through a detailed account of the story with commentary by Tiffany Stern, Professor of Shakespeare and Early Modern Drama at the Shakespeare Institute. Professor Stern discusses the play's context, structure, and distinctive mix of comedy and tragedy, as created by the “play-within-a-play” — the “tragic” story of Pyramus and Thisbe performed by one group of characters to celebrate the others' weddings. This summary is told using the language of the play itself, placing key quotations in context to help you understand where these lines come from and what they mean.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

This month marks the fifth anniversary of Unsound Methods - thank you to everyone who's joined us along the way, and hello to any new arrivals... In this episode we speak to Ewan Fernie and Simon Palfrey about the writing of their collaboratively composed novel 'Macbeth, Macbeth' (available from Boiler House Press, here: https://www.boilerhouse.press/product-page/macbeth-macbeth-by-ewan-fernie-simon-palfrey)  'Macbeth, Macbeth' is described by its authors as a critical fiction. A sequel, critique, and repetition of Shakespeare's play. Slavoj Žižek has described it as: ‘a miracle, an instant classic… as close as one can come to a quantum physics literary criticism'. A video trailer for the book is available here: https://www.youtube.com/watch?v=Ru-seZCr3Ho Ewan Fernie is Director of the 2-million-pound lottery-funded ‘Everything to Everybody' Project (everythingtoeverybody.bham.ac.uk), which is reviving the world's first great Shakespeare library and Birmingham's broader reputation as a pioneering modern city. It was a major influence on the Cultural Programme and the Opening Ceremony of the 2022 Commonwealth Games. His day-job is as Chair, Professor and Fellow at the Shakespeare Institute, Stratford-upon-Avon and Culture Lead for the College of Arts and Law, University of Birmingham. Ewan's books include: Shame in Shakespeare, The Demonic: Literature and Experience, Shakespeare for Freedom, Spiritual Shakespeares, Redcrosse: Remaking Religious Poetry for Today's World, Thomas Mann and Shakespeare: Something Rich and Strange, and New Places: Shakespeare and Civic Creativity. For many years, he co-edited the groundbreaking ‘Shakespeare Now!' series with Simon Palfrey. In 2018, he hosted Radical Mischief: Inviting Experiment in Theatre, Thought and Politics with the Royal Shakespeare Company's Deputy Director, Erica Whyman at The Other Place. He is now leading a new project, Serious About Comedy, with Sean Foley, Artistic Director of Birmingham REP, as well as an ambitious cross-cultural initiative with the Birmingham-based artist and curator, Mohammed Ali of Soul City Arts.  He is writing a book about the Scottish writer and philosopher, Thomas Carlyle, provisionally entitled The Dirty History of Hope. Simon Palfrey is Professor of English at Brasenose College Oxford University. His recent work explores the unique kinds of life generated by dramatic, poetic, and fictional forms, and the opportunities this opens up for more imaginative, philosophically adventurous, and politically engaged critical work. His books include Doing Shakespeare (Arden, 2004; 2nd ed. 2011), a TLS International Book of the Year; Shakespeare in Parts (Oxford, 2007, with Tiffany Stern), the MRDS Book of the Year; Poor Tom: living King Lear (Chicago, 2014); Shakespeare's Possible Worlds (Cambridge, 2014) Simon's current projects are inspired by Spenser's Faerie Queene, including a new bestiary, A Poem Come True, and the twice AHRC-award winning Demons Land, a mixed media event (film, drama, dance, paintings, sculptures, soundscapes, text) that imagines an island built in the image of Spenser's epic poem (demonsland.com). Find us on Twitter: @UnsoundMethods - @JaimieBatchan - @LochlanBloom Jaimie's Instagram is: @jaimie_batchan Or at jaimiebatchan.com and lochlanbloom.com We have a store page on Bookshop, where you can find our books, as well as those of previous guests: https://uk.bookshop.org/shop/unsoundmethods Thanks for listening, please like, subscribe and rate Unsound Methods wherever you get your podcasts. Our website is: https://unsoundmethods.co.uk/

In this episode Rachel discusses how people in Shakespeare's time put on a play. She also explains that the "Original Practice" method she and her co-hosts discussed during the scene breakdowns turns out to be a bunch of hooey. Whoopsie! She recommends the book Rehearsal from Shakespeare to Sheridan by Tiffany Stern

There may not have been indoor plumbing in Shakespeare's lifetime, but going to the bathroom still involved cleaning up. One aspect you may be surprised to learn you share with William Shakespeare is that he, too, used various kinds of paper to go to the restroom. Shakespeare's plays provide references to the jacques, jordan, and chamber pot, all options for using the restroom in Tudor England, and it turns out, we can also find references to what Shakespeare may have used in those restrooms for handling the necessary business in the lavatory, as well. Our guest this week, Tiffany Stern, is here to share with us her research into the alternatives to paper that were often used as toilet tissue for early modern London.

Thomas Dabbs speaks with Tiffany Stern of the Shakespeare Institute, University of Birmingham. The Shakespeare Institute is located in Stratford-upon-Avon and has become a beacon of scholarship in studies of Shakespearean performance and texts. In this talk, Professor Stern's work on Shakespearean performance and documents are discussed along with how Shakespearean drama related to the common person in Elizabethan London and in England during Shakespeare's time. Stern also talks about her forthcoming work on fairgrounds during the Shakespearean period and on broadside ballads and how popular songs appear throughout Shakespeare's plays. Stern also describes her work as a general editor of plays in the Arden Shakespeare series.SEGMENTS:0:00:00 - Intro and greetings0:02:54 - Summary of Tiffany Stern's research0:14:23 - The Shakespeare Institute0:19:06 - Fairgrounds and Shakespeare0:30:50 - Broadside Ballads0:36:54 - The art of insult, the 4th wall audience response0:45:25 - Shakespeare beyond Performance0:54:58 - Textual Editing, Arden, Hard Copy vs Digital1:04:29 - Shakespearean adaption: Novels, Manga, Anime1:07:12 - Beyond performance. beyond text, clowns1:13:50 - Closing remarks, recent scholarship, chronologyTOPICS:#shakespeare#shakespeareantheatre#shakespeareanperformance#shakespearescontemporaries#editingshakespeare#renaissancedrama#earlymoderndrama#digitalhumanities#teachingshakespeare​

[See SEGMENTS below] Thomas Dabbs speaks with Heidi Craig of Texas A&M University. Heidi Craig is the General Editor of the World Shakespeare Bibliography. A graduate of the University of Toronto, Heidi also works on Shakespeare, early modern drama, book history and bibliography and digital humanities.LINKS:World Shakespeare Bibliography: https://www.worldshakesbib.orgEarly Modern Dramatic Paratexts: https://paratexts.folger.edu SEGMENTS:0:00:00 - Intro0:02:55- World Shakespeare Bibliography0:05:30 - Aoyama Gakuin and the early Bible0:06:05 - WSB Collaborative efforts, the Folger Shakespeare Library and others.0:08:00 - WSB correspondents in Japan, Professor Takashi Sasaki0:13:07 - Paratexts in the early modern period0:22:00 - Material criticism, theatre history, Tiffany Stern, work and space0:25:12 - Rag women and the production of paper0:40:28 - The things that have to happen before Shakespeare happens0:45:09 - Dead theatre, the Commonwealth period0:50:30 - EMDP, digitizing paratexts database0:56:20 - The advantages of collaboration0:57:50 - ClosingTOPICS:#shakespeare#shakespeareantheatre#shakespeareanperformance#shakespearescontemporaries#editingshakespeare#renaissancedrama#earlymoderndrama#digitalhumanities#teachingshakespeare​

A Midsummer Night's Dream is one of Shakespeare's most popular romantic comedies. At the same time, it's a play that explores the darker and more dangerous side of love. Four young lovers flee into the forest where their romantic entanglements become even more entangled thanks to the magic of the fairy king, Oberon — who also puts a spell on his wife, Titania, so she falls in love with Bottom, a man with an enchanted donkey's head. In this course, you'll learn the story of A Midsummer Night's Dream, discover how the play's fantastical elements actually represent universal issues in our everyday lives, and hear the play's key speeches performed and analyzed by world-class Shakespearean actors and literary scholars. In Part 1, you'll be guided through a detailed account of the story with commentary by Tiffany Stern, Professor of Shakespeare and Early Modern Drama at the Shakespeare Institute. Professor Stern discusses the play's context, structure, and distinctive mix of comedy and tragedy, as created by the “play-within-a-play” — the “tragic” story of Pyramus and Thisbe performed by one group of characters to celebrate the others' weddings. This summary is told using the language of the play itself, placing key quotations in context to help you understand where these lines come from and what they mean. 

In Part 3, Professor Tiffany Stern offers close-readings of some of the play's most significant speeches. You'll discover the surprising biblical resonances in a speech by the foolish Bottom and see how the epilogue shifts the play from a story about magic to a magic spell placed on the audience itself. Speeches and Performers: Titania, 2.1, “Set your heart at rest: The Fairyland buys not the child …” (Amanda Harris) Bottom, 4.1, “When my cue comes, call me …” (Dame Harriet Walter) Oberon, 5.1, “Now, until the break of day …” and Puck, “If we shadows have offended …” (Kelly Hunter, MBE)

Part 2 addresses the play's central questions about comedy, tragedy, and passion by examining its language and plot motifs. Professor Tiffany Stern will guide you through the play's sometimes dark, sometimes humorous, but always honest exploration of love — where it comes from and why it doesn't always make sense. You'll also discover how A Midsummer Night's Dream reflects the way that Shakespeare's own company performed his plays, and why that knowledge can help you become a better reader of Shakespeare.

Sarah Enloe is the Director of Education at the American Shakespeare Center. We discuss the role an education director plays for a theater, the practical research efforts that infuse performances at the ASC, and how scholarship informs all aspects of the company. For a full transcript of today's episode go to beyondthelightspodcast.com.Mentioned in this Episode[00:01:36] American Shakespeare Center[00:01:58] Shakespeare Theater Association [00:03:56] #SHXCamp[00:04:20] Shakespeare and Leadership [00:09:44] Mary Baldwin University – Master of Letters/Master of Fine Arts[00:13:01] The Knight of the Burning Pestle[00:15:18] Actors’ Renaissance Season[00:18:00] Tiffany Stern [00:18:17] Shakespeare's Globe [00:18:19] Peter McCurdy[00:30:48] Stage of American Fight Directors[00:34:55] UIL One Act Play Festival[00:38:22] Anchuli Felicia King [00:38:37] Shakespeare's New Contemporaries[00:40:08] Ira Aldridge[00:44:49] Blackfriars Conference[00:47:33] Friar Bacon and Friar Bungay[00:47:34] Spanish Tragedy [00:48:03] Bonduca[00:48:09] Gallathea [00:57:41] Give Way To Night[00:57:44] From Unseen Fire[00:59:07] Blue Ridge Tunnel Trail[00:59:33] Basic City Beer[01:01:11] Baja Bean Co.Follow SarahFacebookTwitterInstagramASC Education DepartmentFollow Beyond the LightsWebsiteFacebookTwitterInstagram

Inside Tiffany Stern’s book titled “Shakespeare in Parts”  which she co-authored with Simon Palfrey, there is a picture of a piece of paper captioned “The part of Orlando from Robert Greene’s Orlando Furioso” from the 1590s. The image represents the historical reality that for Shakespeare, plays were always distributed in parts--meaning a single actor would have had a copy of what his character was supposed to say, but when he was on stage to perform those lines, he would be hearing the words of his fellow characters often for the first time, generating, as you might expect, some pretty dramatic responses from the players themselves. This image of the lines for Robert Greene’s Orlando is additionally fascinating because not only is it hand written in ink on paper (instead of printed with type pressed letters the way we find plays inside the First Folio, for example) but aside from some lines across the page periodically to indicate a separation between spoken lines, there isn’t anything else on the page at all. It surprises me, quite honestly, because visually, this 16th century script looks totally different from modern play scripts. So why is the script written in a single part instead of having everyone’s lines all together? Is this the way players acted in the theater--everyone in their own part instead of bringing it all together as a group? Here to help us answer these questions and explore the research from her book, Shakespeare in Parts, about the history of scripts, performance, and the assumptions we make about what really happened when Shakespeare’s actors performed 16th century plays, is our guest Tiffany Stern.

Why are Shakespeare plays filled with songs – not all of them relevant to the story? In this 10-Minute Talk, Tiffany Stern discusses sales of printed songtexts in Shakespeare's London. She asks whether songs performed in, about or after plays were ‘product placement' for theatre sales.Speaker: Professor Tiffany Stern FBA, Professor of Shakespeare and Early Modern Drama, Shakespeare Institute, University of BirminghamImage: Performance at the Globe Theatre © Leon Neal / AFP / Getty ImagesTranscript: https://www.thebritishacademy.ac.uk/podcasts/10-minute-talks-theatre-marketing-and-ballads-in-the-time-of-shakespeare

Revenge! Murder! Incest! In episode 7 of Sparking Connections, Esmé and Kim discuss the Caroline revenge tragedy 'Tis Pity She's A Whore,' by John Ford. Show Notes: For more information and Transcripts please visit: https://pleaseholdfor.squarespace.com Boehrer, Bruce, ‘“Nice Philosophy”: 'Tis Pity She's a Whore and the Two Books of God', Studies in English Literature, 1500-1900, 24.2 (1984), 355–71 Bowers, Rick, ‘John Ford and the Sleep of Death', Texas Studies in Literature and Language, 28.4 (1986), 353–87 Champion, Larry S., ‘Ford's 'Tis Pity She's a Whore and the Jacobean Tragic Perspective', PMLA, 90.1 (1975), 78–87 Clerico, Terri, ‘The Politics of Blood: John Ford's “ 'Tis Pity She's a Whore”', English Literary Renaissance, 22.3 (1992), 405–34 Cooper, Farah Karim, and Tiffany Stern, Shakespeare's Theatres and the Effects of Performance (Bloomsbury Publishing, 2015) Diehl, Huston, ‘Inversion, Parody, and Irony: The Visual Rhetoric of Renaissance English Tragedy', Studies in English Literature, 1500-1900, 22.2 (1982), 197–209 Forker, Charles R., ‘“A Little More Than Kin, and Less Than Kind”: Incest, Intimacy, Narcissism, and Identity in Elizabethan and Stuart Drama', Medieval & Renaissance Drama in England, 4 (1989), 13–51 Gleason, John B., ‘The Dutch Humanist Origins of The De Witt Drawing of the Swan Theatre', Shakespeare Quarterly, 32.3 (1981), 324–38 Hopkins, Lisa, ‘Speaking Sweat: Emblems in the Plays of John Ford', Comparative Drama, 29.1 (1995), 133–46 Hoy, Cyrus, ‘“Ignorance in Knowledge”: Marlowe's Faustus and Ford's Giovanni', Modern Philology, 57.3 (1960), 145–54 Jephson, Valerie L., and Bruce Boehrer, ‘Mythologizing the Middle Class: “'Tis Pity She's a Whore” and the Urban Bourgeoisie', Renaissance and Reformation / Renaissance et Réforme, 18.3 (1994), 5–28 Kaufmann, R. J., ‘FORD'S TRAGIC PERSPECTIVE', Texas Studies in Literature and Language, 1.4 (1960), 522–37 Kistner, Arthur L., and M. K. Kistner, ‘The Dramatic Functions of Love in the Tragedies of John Ford', Studies in Philology, 70.1 (1973), 62–76 Martin, Matthew R., ‘The Raw and the Cooked in Ford's “ 'Tis Pity She's a Whore”', Early Theatre, 15.2 (2012), 131–46 Maus, Katharine Eisaman, ‘Horns of Dilemma: Jealousy, Gender, and Spectatorship in English Renaissance Drama', ELH, 54.3 (1987), 561–83 Mikesell, Margaret, ‘The Formative Power of Marriage in Stuart Tragedy', Modern Language Studies, 12.1 (1982), 36–44 Sasayama, Takashi, ‘The Decadence of John Fordʹs Tragedies', in English Criticism in Japan: Essays by Younger Japanese Scholars on English and American Literature, ed. by EARL ROY MINER (Princeton University Press, 1972), pp. 101–14 Sensabaugh, G. F., ‘John Ford and Platonic Love in the Court', Studies in Philology, 36.2 (1939), 206–26 Silverstone, Catherine, ‘Sexing Death: Giuseppe Patroni Griffi's “ 'Tis Pity She's a Whore”', Shakespeare Bulletin, 29.4 (2011), 559–72 Smith, Emma, and Garrett A. Sullivan Jr, The Cambridge Companion to English Renaissance Tragedy (Cambridge University Press, 2010)

When we think about William Shakespeare, we almost synonymously think of him holding a quill pen, or furiously scratching away on a piece of parchment with ink on his hands creating a masterpiece. When it comes to the history of writing, pens in particular, and even references to writing that happens inside Shakespeare’s plays, the world of writing instruments in Shakespeare’s lifetime was really widely varied. Not only were there other options beyond the infamous quill pen, but it’s highly likely many of Shakespeare's plays were actually taken down using a precursor to the same No. 2 pencils many of us create our artwork with today. Here to help us explore the history of writing instruments in England, including table books, graphite pencils, and a delightful look at Elizabethan erasers, is professor of Shakespeare and early modern drama, Tiffany Stern. 

Sixteenth-century theater companies used a variety of physical and sensual staging effects in their productions to create a full-body experience for playgoers: fireworks hissing and shooting across the stage, fake blood, fake body parts, the smell of blood and death, and more. Farah Karim-Cooper and Tiffany Stern are the editors of a 2013 collection of essays, Shakespeare’s Theatre and the Effects of Performance, written by themselves and nine other theater historians. Tiffany Stern is a Professor of Shakespeare and Early Modern Drama with the University of Birmingham’s Shakespeare Institute at Stratford-upon-Avon. Farah Karim-Cooper is Head of Higher Education and Research at Shakespeare’s Globe in London. Tiffany and Farah are interviewed by Barbara Bogaev. From the Shakespeare Unlimited podcast series. Published December 13, 2017. © Folger Shakespeare Library. All rights reserved. This podcast episode, Awake Your Senses, was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster and Esther Ferington. Esther French is the web producer. We had production help from Cathy Devlin and Dom Boucher at the Sound Company in London and Paul Luke and Andrew Feliciano at at Voice Trax West in Studio City, California.

Jonathan Lloyd and Tiffany Stern, discuss performing Shakespeare in the past and now Accompanied by actors to help illustrate their points, Jonathan Lloyd, Artistic Director of Pegasus Theatre, and Tiffany Stern, Professor of Early Modern Drama, discuss performing Shakespeare in the past and now.

Jonathan Lloyd and Tiffany Stern, discuss performing Shakespeare in the past and now Accompanied by actors to help illustrate their points, Jonathan Lloyd, Artistic Director of Pegasus Theatre, and Tiffany Stern, Professor of Early Modern Drama, discuss performing Shakespeare in the past and now.

Tiffany Stern from Royal Holloway, University of London, delivers a talk titled “Houses in the Playhouse.” This talk was included in the session titled “House.” Part of “Early Modern Literary Geographies,” a conference held at The Huntington Oct. 14–15, 2016.

Highlights from the Knowledge Exchange Showcase, 26 November 2015. Highlights from the Knowledge Exchange Showcase at Ertgeun House on the 26th November 2015. Featuring Knowledge Exchange Fellows: Dr Joshua Hordern; Dr Andrew Papanikitas; Barry Murnane; Laura Tunbridge; Martyn Harry; and Tiffany Stern.

Keynote lecture by Margreta de Grazia, (Emerita Sheli Z. and Burton X. Rosenberg Professor of the Humanities, University of Pennsylvania) for the Marginal Malone conference held in Oxford on June 26th, 2015. Introduction by Tiffany Stern, Professor of Early Modern Drama, Faculty of English, University of Oxford

Keynote lecture by Margreta de Grazia, (Emerita Sheli Z. and Burton X. Rosenberg Professor of the Humanities, University of Pennsylvania) for the Marginal Malone conference held in Oxford on June 26th, 2015. Introduction by Tiffany Stern, Professor of Early Modern Drama, Faculty of English, University of Oxford

Keynote lecture by Margreta de Grazia, (Emerita Sheli Z. and Burton X. Rosenberg Professor of the Humanities, University of Pennsylvania) for the Marginal Malone conference held in Oxford on June 26th, 2015. Introduction by Tiffany Stern, Professor of Early Modern Drama, Faculty of English, University of Oxford

Professor Tiffany Stern joins Dr Adam Smyth to discuss her current research on the materiality of the early modern play text. What happens to our thinking about plays when prologues, epilogues and songs become mobile pieces, detached from the whole?

Professor Tiffany Stern of University College, Oxford, discusses her current research and proposes why we should still study Elizabethan Theatre.

Professor Tiffany Stern gives a short talk on William Shakespeare and how his plays were performed in Elizabethan England.

Professor Tiffany Stern gives a talk on William Shakespeare and how his plays were performed in Elizabethan England.

Professor Tiffany Stern gives a talk on William Shakespeare and how his plays were performed in Elizabethan England.

Professor Tiffany Stern from Oxford University gives a talk to students about the original performance conditions of Shakespeare's The Comedy of Errors.