Podcasts about renaissance drama

Judith Shakespeare's life is a mystery. While history records her as the younger daughter of William Shakespeare and Anne Hathaway, much of her story remains untold. In her new novel, The Owl Was a Baker's Daughter, author and Shakespeare scholar Grace Tiffany brings Judith to life—filling in the gaps with adventure, resilience, and rebellion. A sequel to My Father Had a Daughter, this novel follows Judith into later adulthood. No longer the headstrong girl who once fled to London in disguise to challenge her father, she is now a skilled healer and midwife. However, when she is accused of witchcraft, she must escape Stratford and navigate a world where Puritans have closed playhouses, civil war splits England, and even her father's legacy is at risk. Tiffany explores how she merged fact and fiction to reimagine Judith's life. From the real-life scandal that shook her marriage to the theatrical and political disturbances of her time, the author examines what it means to write historical fiction—and how Shakespeare's life and legacy continue to inspire new stories. Grace Tiffany is a professor of Shakespeare and Renaissance Drama at Western Michigan University. She has also taught Shakespeare at Fordham University, the University of New Orleans, and the University of Notre Dame, where she obtained her doctorate. She is also the author of My Father Had a Daughter and The Turquoise Ring. From the Shakespeare Unlimited podcast. Published March 25, 2025. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the executive producer. It was edited by Gail Kern Paster. We had help with web production from Paola García Acuña. Leonor Fernandez edits our transcripts. Final mixing services are provided by Clean Cuts at Three Seas, Inc.

How did early modern England understand race and how has that influenced our thinking? Race is often considered a recent construct, but Shakespeare's works—both his plays and poetry—reveal a diverse world already aware of race, identity, and difference. In this episode, Patricia Akhimie, editor of The Oxford Handbook of Shakespeare and Race, discusses the growing field of study and what we can learn from it. She is joined by two of the scholars contributing essays to the guide, Dennis Britton and Kirsten Mendoza, who are exploring the ways race, gender, and power intersect in Shakespeare's long narrative poems. Britton examines Venus and Adonis, investigating how Shakespeare's portrayal of beauty, fairness, and desire upends traditional thinking about sexuality and race. Mendoza focuses on human rights in The Rape of Lucrece, revealing how Shakespeare's use of color symbolism exposes early modern ideas about race, gender, and bodily autonomy. Both scholars illuminate how Shakespeare's works have encoded ideas about race, which continue to resonate today. The Oxford Handbook of Shakespeare and Race is an essential resource for scholars, teachers, students, and readers interested in this important area of Shakespeare research. Patricia Akhimie is Director of the Folger Institute at the Folger Shakespeare Library, Director of the RaceB4Race Mentorship Network, and Associate Professor of English at Rutgers University-Newark. She is editor of the Arden Othello (4th series), author of Shakespeare and the Cultivation of Difference: Race and Conduct in the Early Modern World and, with Bernadette Andrea, co-editor of Travel and Travail: Early Modern Women, English Drama, and the Wider World. Dennis Austin Britton is an Associate Professor of English at the University of British Columbia. His research interests include early modern English literature, Protestant theology, premodern critical race studies, and the history of emotion. He is the author of Becoming Christian: Race, Reformation, and Early Modern English Romance (2014), coeditor with Melissa Walter of Rethinking Shakespeare Source Study: Audiences, Authors, and Digital Technologies (2018), and co-editor with Kimberly Anne Coles of ‘Spenser and Race', a special issue of Spenser Studies (2021). He is currently working on a new edition of Othello for Cambridge University Press and a monograph, ‘Shakespeare and Pity: A Literary History of Race and Feeling.' Kirsten N. Mendoza is an Associate Professor of English and Human Rights at the University of Dayton. Her first book project, ‘A Politics of Touch: The Racialization of Consent in Early Modern English Literature', examines the conceptual ties that link shifting sixteenth- and seventeenth-century discourses on self-possession and sexual consent with England's colonial endeavors, involvement in the slave trade, and global mercantile pursuits. Her work has appeared or is forthcoming in Renaissance Drama, Shakespeare Bulletin, The Norton Critical Edition of Doctor Faustus, Race and Affect in Early Modern English Literature, and Teaching Social Justice Through Shakespeare: Why Renaissance Literature Matters Now. From the Shakespeare Unlimited podcast. Published February 10, 2025. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the executive producer. It was edited by Gail Kern Paster. We had help with web production from Paola García Acuña. Leonor Fernandez edits our transcripts. Final mixing services are provided by Clean Cuts at Three Seas, Inc.

In today's episode, we are exploring the historical and theatrical context for bastard characters in Shakespeare's plays and other plays of the early modern period. We'll explore the cultural norms that existed for illegitimate children during the Elizabethan and Jacobean and the legal, financial, and social prejudices they and their parents experienced. We will also discuss how the experience of illegitimacy intersects with class in early modern England. Then, we will explore how the early modern theatre mirrored the experience of illegitimate children and how bastard characters were used as a tool by dramatists for the early modern theatre.   Shakespeare Anyone? is created and produced by Kourtney Smith and Elyse Sharp. Music is "Neverending Minute" by Sounds Like Sander. Follow us on Instagram at @shakespeareanyonepod for updates or visit our website at shakespeareanyone.com You can support the podcast by becoming a patron at patreon.com/shakespeareanyone, sending us a virtual tip via our tipjar, or by shopping our bookshelves at bookshop.org/shop/shakespeareanyonepod. Works referenced: Findlay, Alison. Illegitimate Power: Bastards in Renaissance Drama. United Kingdom, Manchester University Press, 2009.

Our F/Favorite Tropes Part 14a: Actresses and the Stage The Lesbian Historic Motif Podcast - Episode 293 with Heather Rose Jones In this episode we talk about: Historic romance tropes on stagePlays that include or suggest f/f desire Contexts for women playing romantic roles opposite women Breeches Roles and f/f desire BibliographyBoehringer, Sandra (trans. Anna Preger). 2021. Female Homosexuality in Ancient Greece and Rome. Routledge, New York. ISBN 978-0-367-74476-2 Bruster, Douglas. 1993. “Female-Female Eroticism and the Early Modern Stage” in Renaissance Drama 24: 1-32. Clark, Robert L. A. & Claire Sponsler. 1997. "Queer Play: The Cultural Work of Crossdressing in Medieval Drama" in New Literary History, 28:219-344. Donoghue, Emma. 1995. Passions Between Women: British Lesbian Culture 1668-1801. Harper Perennial, New York. ISBN 0-06-017261-4 Drouin, Jennifer. 2009. “Diana's Band: Safe Spaces, Publics, and Early Modern Lesbianism” in Queer Renaissance Historiography, Vin Nardizzi, Stephen Guy-Bray & Will Stockton, eds. Ashgate, Burlington VT. ISBN 978-0-7546-7608-9 Duggan, Lisa. 1993. “The Trials of Alice Mitchell: Sensationalism, Sexology and the Lesbian Subject in Turn-of-the-Century America” in Queer Studies: An Interdisciplinary Reader, ed. Robert J. Corber and Stephen Valocchi. Oxford: Blackwell. pp.73-87 Gonda, Caroline. 2015. “Writing Lesbian Desires in the Long Eighteenth Century” in The Cambridge Companion to Lesbian Literature, edited by Jodie Medd. Cambridge University Press, Cambridge. ISBN 978-1-107-66343-5 Gough, Melinda J. 2005. “Courtly Comédiantes: Henrietta Maria and Amateur Women's Stage Plays in France and England” in Women Players in England, 1500-1660: Beyond the All-Male Stage, edited by Pamela Allen Brown & Peter Parolin. Ashgate, Burlington. ISBN 978-0-7546-0953-7 Hallett, Judith P. 1997. “Female Homoeroticism and the Denial of Roman Reality in Latin Literature” in Roman Sexualities, ed. By Judith P. Hallett & Marilyn B. Skinner, Princeton University Press, Princeton. Katritzky, M.A. 2005. “Reading the Actress in Commedia Imagery” in Women Players in England, 1500-1660: Beyond the All-Male Stage, edited by Pamela Allen Brown & Peter Parolin. Ashgate, Burlington. ISBN 978-0-7546-0953-7 Klein, Ula Lukszo. 2021. Sapphic Crossings: Cross-Dressing Women in Eighteenth-Century British Literature. University of Virginia Press, Charlottesville. ISBN 978-0-8139-4551-4 Kranz, Susan E. 1995. The Sexual Identities of Moll Cutpurse in Dekker and Middleton's The Roaring Girl and in London in Renaissance and Reformation 19: 5-20. Krimmer, Elisabeth. 2004. In the Company of Men: Cross-Dressed Women Around 1800. Wayne State University Press, Detroit. ISBN 0-8143-3145-9 Lanser, Susan S. 2014. The Sexuality of History: Modernity and the Sapphic, 1565-1830. University of Chicago Press, Chicago. ISBN 978-0-226-18773-0 Merrill, Lisa. 2000. When Romeo was a Woman: Charlotte Cushman and her Circle of Female Spectators. The University of Michigan Press, Ann Arbor. ISBN 978-0-472-08749-5 Orvis, David L. 2014. “Cross-Dressing, Queerness, and the Early Modern Stage” in The Cambridge History of Gay and Lesbian Literature ed. E.L. McCallum & Mikko Tuhkanen. Cambridge University Press, New York. ISBN 978-1-107-03521-8 Poulsen, Rachel. 2005. “Women Performing Homoerotic Desire in English and Italian Comedy: La Calandria, Gl'Ingannati and TwelfthNight” in Women Players in England, 1500-1660: Beyond the All-Male Stage, edited by Pamela Allen Brown & Peter Parolin. Ashgate, Burlington. ISBN 978-0-7546-0953-7 Rose, Mary Beth. 1984. “Women in Men's Clothing: Apparel and Social Stability in The Roaring Girl,” in ELR: English Literary Renaissance 14:3 (1984): 367-91 Stokes, James 2005. “Women and Performance: Evidences of Universal Cultural Suffrage in Medieval and Early Modern Lincolnshire” in Women Players in England, 1500-1660: Beyond the All-Male Stage, edited by Pamela Allen Brown & Peter Parolin. Ashgate, Burlington. ISBN 978-0-7546-0953-7 Straub, Kristina. 1991. “The Guilty Pleasures of Female Theatrical Cross-Dressing and the Autobiography of Charlotte Charke” in Body guards : the cultural politics of gender ambiguity edited by Julia Epstein & Kristina Straub. Routledge, New York. ISBN 0-415-90388-2 Traub, Valerie. 2001. "The Renaissance of Lesbianism in Early Modern England" in GLQ 7:2 245-263. Trumbach, Randolph. 1991. “London's Sapphists : From Three Sexes to Four Genders in the Making of Modern Culture” in Body guards : the cultural politics of gender ambiguity edited by Julia Epstein & Kristina Straub. Routledge, New York. ISBN 0-415-90388-2 Velasco, Sherry. 2000. The Lieutenant Nun: Transgenderism, Lesbian Desire and Catalina de Erauso. University of Texas Press. ISBN 0-292-78746-4 Velasco, Sherry. 2011. Lesbians in Early Modern Spain. Vanderbilt University Press, Nashville. ISBN 978-0-8265-1750-0 Velasco, Sherry. 2014. “How to Spot a Lesbian in the Early Modern Spanish World” in The Cambridge History of Gay and Lesbian Literature ed. E.L. McCallum & Mikko Tuhkanen. Cambridge University Press, New York. ISBN 978-1-107-03521-8 Wahl, Elizabeth Susan. 1999. Invisible Relations: Representations of Female Intimacy in the Age of Enlightenment. Stanford University Press, Stanford. ISBN 0-8047-3650-2 Walen, Denise A. 2005. Constructions of Female Homoeroticism in Early Modern Drama. New York: Palgrave MacMillan. ISBN 978-1-4039-6875-3 A transcript of this podcast is available here. Links to the Lesbian Historic Motif Project Online Website: http://alpennia.com/lhmp Blog: http://alpennia.com/blog RSS: http://alpennia.com/blog/feed/ Twitter: @LesbianMotif Discord: Contact Heather for an invitation to the Alpennia/LHMP Discord server The Lesbian Historic Motif Project Patreon Links to Heather Online Website: http://alpennia.com Email: Heather Rose Jones Mastodon: @heatherrosejones@Wandering.Shop Bluesky: @heatherrosejones Facebook: Heather Rose Jones (author page)

This is a discussion with Professor Marion Wynne-Davies about the collection of plays and documents, published in 1996, Renaissance Drama by Women, which was co-edited with S.P. Cerasano. Whilst it was published a fair while ago, it was this collection that began our work on these plays, and we're probably not alone. This episode features clips from our audio adaptations of the plays in question, all of which can be heard in full on our Dramatic Women playlist. The host was Robert Crighton, and additional voices include Simon Nader as Caesar in The Tragedy of Antony, Fiona Thraille from Elizabeth I's translation, and Pamela Flanagan as Cleopatra in The Tragedy of Antony translated by Mary Sidney, as well as Salome in The Tragedy of Mariam by Elizabeth Cary. Our patrons received this episode in October 2023 - approx. 7 months early. The Beyond Shakespeare Podcast is supported by its patrons – become a patron and you get to choose the plays we work on next. Go to www.patreon.com/beyondshakespeare - or if you'd like to buy us a coffee at ko-fi https://ko-fi.com/beyondshakespeare - or if you want to give us some feedback, email us at admin@beyondshakespeare.org, follow us on Twitter, Facebook & Instagram @BeyondShakes or go to our website: https://beyondshakespeare.org You can also subscribe to our YouTube channel where (most of) our exploring sessions live - https://www.youtube.com/channel/UCLa4pXxGZFwTX4QSaB5XNdQ The Beyond Shakespeare Podcast is hosted and produced by Robert Crighton. 

In unserer Jubiläumsfolge reden David und Felix über den legendären Räuberhelden aus dem Sherwood Forest: Robin Hood. Es geht um ermordete Zeugen, nicht vertrauenswürdige Äbte, einen großzügigen König und einen Streich, den Heinrich VIII. seiner Frau gespielt hat. Außerdem klären wir, warum im Sherwood Forest immer Sommer ist, wie Robin seine Marian fand, wann aus dem Vagabunden ein Wohltäter der Armen wurde und wie Geoffrey Chaucer, Sir Walter Scott, Kevin Costner, Umweltschützer und eine Aktien-App bis heute unser Bild vom grünen Bogenschützen prägen. Unsere Literaturtipps zur Folge: - Andrew James Johnston, Robin Hood. Geschichte einer Legende. München 2013. - Stephen Knight, Robin Hood. A Mythic Biography. Ithaca/London 2003. - Judith Klinger, Robin Hood. Auf der Suche nach einer Legende. Darmstadt 2015. - James D. Stokes: Robin Hood and the Churchwardens in Yeovil, in: Medieval & Renaissance Drama in England 3 (1986), S. 1-25.

Mako Yoshikawa's Secrets of the Sun: A Memoir (Mad Creek Books 2024) contains a host of essays about her difficult, brilliant father. Shoichi Yoshikawa grew up in a wealthy family in 1930s Japan, but his mother died when he was five, and he died alone on the eve of Mako's wedding. He had been a genius, renowned for his research in nuclear fusion and respected at Princeton, until he fell apart. She remembered him being alternatingly kind or violent when bipolar disease gripped him. Her mother packed up and left the house with Mako and her sisters, later remarrying a wonderful man and brilliant chess player who Mako considered the father she always wanted. Mako wants to understand him; why he cross-dressed, why he was so passionate about fusion, why he alienated his daughters so that he hadn't even been invited to Mako's wedding. Mako Yoshikawa is the author of the novels One Hundred and One Ways and Once Removed. Her novels have been translated into six languages; awards include a Massachusetts Cultural Council Grant and a Radcliffe Fellowship. As a literary critic, she has published articles that explore the relationship between incest and race in 20th-century American fiction. After her father's death in 2010, Mako began writing about him and their relationship: essays which have appeared in the Missouri Review, Southern Indiana Review, Harvard Review, Story, Lit Hub, Longreads, and Best American Essays. These essays became the basis for her new memoir, Secrets of the Sun. Yoshikawa grew up in Princeton, New Jersey but spent two years of her childhood in Tokyo, Japan. She received a B.A. in English literature from Columbia University, a Masters in Shakespeare and Renaissance Drama at Lincoln College, Oxford, and a Ph. D. in English literature from the University of Michigan, Ann Arbor. Mako is a professor of creative writing and the director of the MFA program at Emerson College. In addition to her MFA classes, Mako teaches Comedic Lit to undergraduates in Emerson's Comedic Arts program. She also teaches as often as she can in the Emerson Prison Initiative, a degree-granting program that is based in MCI-Norfolk, a medium-security prison for men. She lives with her husband and two unruly cats in Boston and Baltimore. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Mako Yoshikawa's Secrets of the Sun: A Memoir (Mad Creek Books 2024) contains a host of essays about her difficult, brilliant father. Shoichi Yoshikawa grew up in a wealthy family in 1930s Japan, but his mother died when he was five, and he died alone on the eve of Mako's wedding. He had been a genius, renowned for his research in nuclear fusion and respected at Princeton, until he fell apart. She remembered him being alternatingly kind or violent when bipolar disease gripped him. Her mother packed up and left the house with Mako and her sisters, later remarrying a wonderful man and brilliant chess player who Mako considered the father she always wanted. Mako wants to understand him; why he cross-dressed, why he was so passionate about fusion, why he alienated his daughters so that he hadn't even been invited to Mako's wedding. Mako Yoshikawa is the author of the novels One Hundred and One Ways and Once Removed. Her novels have been translated into six languages; awards include a Massachusetts Cultural Council Grant and a Radcliffe Fellowship. As a literary critic, she has published articles that explore the relationship between incest and race in 20th-century American fiction. After her father's death in 2010, Mako began writing about him and their relationship: essays which have appeared in the Missouri Review, Southern Indiana Review, Harvard Review, Story, Lit Hub, Longreads, and Best American Essays. These essays became the basis for her new memoir, Secrets of the Sun. Yoshikawa grew up in Princeton, New Jersey but spent two years of her childhood in Tokyo, Japan. She received a B.A. in English literature from Columbia University, a Masters in Shakespeare and Renaissance Drama at Lincoln College, Oxford, and a Ph. D. in English literature from the University of Michigan, Ann Arbor. Mako is a professor of creative writing and the director of the MFA program at Emerson College. In addition to her MFA classes, Mako teaches Comedic Lit to undergraduates in Emerson's Comedic Arts program. She also teaches as often as she can in the Emerson Prison Initiative, a degree-granting program that is based in MCI-Norfolk, a medium-security prison for men. She lives with her husband and two unruly cats in Boston and Baltimore. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

In today's special bonus episode, we are joined by a panel of Shakespeare social media content creators in our first-ever panel episode to discuss the intersection between Shakespeare and social media. We discuss each guests' work; the different social media platforms; how and why we create Shakespeare content; the benefits of educating through memes; and what makes Shakespeare so dang memeable! Emily Jackoway is an actor, writer, and lifelong Shakespeare nerd. She earned her BFA in drama from New York University's Tisch School of the Arts, where she studied Shakespeare at the Classical Studio. She is a former contributing writer and social media manager for Shakespeare and literary education website NoSweatShakespeare, which strives to make Shakespeare accessible for audiences and students. She also hosted their podcast, “Scurvy Companions,” which discusses Shakespeare in all his facets with actors, writers, directors, scholars, stage combat professionals and more. Favorite past roles include Juliet, Puck, and Iago. Carson Brakke is a PhD candidate at the University of Illinois at Urbana Champaign, and is writing her dissertation on representations of hospitality in early modern English literature. In addition to hospitality, her research interests include domesticity, food studies, and women's writing. To break up the solitary work of dissertating, Carson uses her TikTok platform to talk about early modern literature and the PhD experience. You can find her @glutenbergbible, where she's always looking to chat with more people about research, academia, and the weird and surprising sides of early modern English literature! Micaela Mannix considers herself a jack of all Shakespeare. She is the artistic director of Bowls with the Bard, Denver's stoned Shakespeare company, and she hosts their podcast. Micaela is also an actor and content creator. You can find her making memes and working toward 10,000 hours of Shakespeare practice @10kshakespeare on TikTok and Instagram. Project: Bowls with the Bard is producing Stoned Cymbeline in Denver at the Coffee Joint February 22 - 25, 2024. Stephanie Crugnola has spent a very long time yelling about Shakespeare and how to start making it fun, accessible, responsible, and engaging for people who live in the 21st century. She has her MA in Early Modern English from King's College, London where she learned niche-ier words to yell with. Now, she hosts the Protest too Much podcast (@p2mpod): a Shakespeare showdown with a new guest each week and runs Walking Shadow Shakespeare Project (@wsshakes), a company focused on interactive educational performance opportunities and one-rehearsal pop-up productions. Her favorite Shakespeare play is Cymbeline because she thrives on chaos and being extra. Mia Escott is an Assistant Professor of English, Rhetoric, and Writing at Berry College. She joined the faculty in 2022 after receiving her doctoral degree in English from Louisiana State University. An Alabama native, she graduated from Auburn University and the University of Montevallo. Her research and teaching interests include early modern British Literature, Renaissance Drama, Shakespeare, Early Modern Race Studies, Critical Race Theory, and Women's and Gender Studies. Trevor Boffone went viral in 2019 and hasn't looked back. His work using TikTok and Instagram with his students has been featured on Good Morning America, ABC News, Inside Edition, and Access Hollywood, among numerous national media platforms. His work as a social media expert has been featured in the New York Times, Washington Post, LA Times, Forbes, The Atlantic, and NPR. Trevor has published two books on social media and popular culture, and has two forthcoming books exploring theatre marketing on social media. Oh, and he does the Shakespeare thing, too. He is the co-editor of Shakespeare & Latinidad and is currently co-writing a book on Yassified Shakespeare. Shakespeare Anyone? is created and produced by Kourtney Smith and Elyse Sharp. Music is "Neverending Minute" by Sounds Like Sander. Follow us on Instagram at @shakespeareanyonepod for updates or visit our website at shakespeareanyone.com You can support the podcast at patreon.com/shakespeareanyone.  

In today's episode, we are joined by the brilliant Dr. Mia Escott to embark on a journey through the complex intersections of race, Shakespeare, and the early modern era. Dr. Escott provides crucial context to help us understand how people of the early modern era were socially categorized based on nationality, religion, and social status. It's a crucial foundation for dissecting Shakespeare's approach to race. Aaron, the enigmatic character from Titus Andronicus, takes center stage. Dr. Escott walks us through the complexities of this character, a Moor in a world where stereotypes and villainy are often intertwined. We explore key moments and lines that shed light on Aaron's character and the racial dynamics at play. We also discuss Blackness and race within Shakespeare's broader canon, as Dr. Escott sheds light on how Shakespeare both humanized and socially othered his Black characters. Woven throughout our discussion are Dr. Escott's insights into how the worlds of academia and theatre can better approach race and discussions of race, especially when it comes to Shakespeare.  Dr. Mia Escott  is an Assistant Professor of English, Rhetoric, and Writing at Berry College. She joined the faculty in 2022 after receiving her doctoral degree in English from Louisiana State University. An Alabama native, she has graduated from Auburn University and the University of Montevallo. Her research and teaching interests include early modern British Literature, Renaissance Drama, Shakespeare, Critical Race Theory, and Women's and Gender Studies. Dr. Escott is the 2022 recipient of LSU's HSS Diversity Committee— Excellence in Teaching Graduate Student Award, which highlights her commitment to making academia an inclusive and equitable learning space. Most recently she has been a guest speaker at various Berry College events, sharing her love for English and Shakespeare. If you are not a Berry student then luckily you can find Dr. Escott on TikTok as @dr.shakesfeare, where she is making The Bard more accessible and comprehensible, in a humorous way. Recommended Reading:  White People in Shakespeare: Essays on Race, Culture and the Elite by Arthur L Litttle Jr.  The Great White Bard by Dr. Farah Karim-Cooper Shakespeare Anyone? is created and produced by Kourtney Smith and Elyse Sharp. Music is "Neverending Minute" by Sounds Like Sander. Follow us on Instagram at @shakespeareanyonepod for updates or visit our website at shakespeareanyone.com You can support the podcast at patreon.com/shakespeareanyone

In this week's episode, we are taking a look at how the patriarchal society and patrilineal anxieties of early modern English society influenced the sexist representations of gender in Shakespeare's King Lear, and how much further more recent productions have comes in terms of representation...or not. Shakespeare Anyone? is created and produced by Korey Leigh Smith and Elyse Sharp. Music is "Neverending Minute" by Sounds Like Sander. Follow us on Instagram at @shakespeareanyonepod for updates or visit our website at shakespeareanyone.com You can support the podcast at patreon.com/shakespeareanyone Works referenced: Aughterson, Kate, and Ailsa Grant Ferguson. Shakespeare and Gender: Sex and Sexuality in Shakespeare's Drama. The Arden Shakespeare, 2020, pp. 153-171. Accessed 11 Jan. 2022.  Kelly, Philippa. “See What Breeds about Her Heart: ‘King Lear', Feminism, and Performance.” Renaissance Drama, vol. 33, [University of Chicago Press, Northwestern University], 2004, pp. 137–57, Accessed 12 Jan. 2022 from http://www.jstor.org/stable/41917389. Rudnytsky, Peter L. “‘The Darke and Vicious Place': The Dread of the Vagina in ‘King Lear.'” Modern Philology, vol. 96, no. 3, University of Chicago Press, 1999, pp. 291–311, http://www.jstor.org/stable/439219. Schwarz, Kathryn. “‘Fallen Out With My More Headier Will': Dislocation in King Lear.” What You Will: Gender, Contract, and Shakespearean Social Space, University of Pennsylvania Press, 2011, pp. 181–208, http://www.jstor.org/stable/j.ctt3fh7rv.12.

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)

William Shakespeare, the writer who – above all others, perhaps – keeps giving and giving. Michael Caines takes us through the latest research, theories and discoveries (or not, as the case may be); Why do women read more fiction than men? Lucy Scholes returns to the age-old conundrumDeath by Shakespeare: Snakebites, stabbings and broken hearts by Kathryn HarkupUntimely Death in Renaissance Drama by Andrew GriffinShakespeare in a Divided America by James ShapiroShakespeare and Trump by Jeffrey R. Wilson‘Infecting the teller – The failure of a mathematical approach to Shakespeare’s authorship’ by Brian Vickers, in this week’s TLSWhy Women Read Fiction: The stories of our lives by Helen Taylor See acast.com/privacy for privacy and opt-out information.

Exploring: The Tragedy of Antony (Act 5) From our pre-production Exploring sessions, where we read through the text of this play for future use towards an audio/stage show. The Tragedy of Antony is a translation of Robert Garnier's play, done into English by Mary Sidney, or Mary Herbert (Countess of Pembroke), in 1592. These are recordings of various readers and actors working through Act 5, as we tried to find a route into the play. It's the first step in a journey to understand and produce the play, with a plain text and full cast audio adaptation coming soon. Act Five is short and sad, as Cleopatra mourns the dead Antony - and prepares herself mentally for her own end. With Mark Scanlon, Liz Cole, Leigh McDonald, and the inevitable host, Robert Crighton. There are a few editions of the play available both in print and online (one online version can be found here http://www.luminarium.org/renascence-editions/antonie.html) - we're very fond of the Three Tragedies by Renaissance Women, Penguin Renaissance Dramatists edition edited by Diane Purkiss; as well as the Renaissance Drama by Women, Routledge, edited by S.P. Cerasano and Marion Wynne-Davies. At least one other edition exists, but we haven't looked at it yet. The Beyond Shakespeare Podcast is supported by its patrons – become a patron and you get to choose the plays we work on next. Go to https://patreon.com/beyondshakespeare or follow us on Twitter @BeyondShakes or even go to our website: https://beyondshakespeare.org (https://beyondshakespeare.org/)

Exploring: The Tragedy of Antony (Act 4) From our pre-production Exploring sessions, where we read through the text of this play for future use towards an audio/stage show. The Tragedy of Antony is a translation of Robert Garnier's play, done into English by Mary Sidney, or Mary Herbert (Countess of Pembroke), in 1592. These are recordings of various readers and actors working through Act 4, as we tried to find a route into the play. It's the first step in a journey to understand and produce the play, with a plain text and full cast audio adaptation coming soon. ALL CHANGE! Act Four throws us into the hands of the enemy - as Caesar and Agrippa discuss what's to be done with Antony and a messenger arrives to give them some news. Even the chorus is different - with Roman soldiers instead of the usual array of distressed Egyptians. With Rob Myson, Alan Scott, and the inevitable host, Robert Crighton. There are a few editions of the play available both in print and online (one online version can be found here http://www.luminarium.org/renascence-editions/antonie.html) - we're very fond of the Three Tragedies by Renaissance Women, Penguin Renaissance Dramatists edition edited by Diane Purkiss; as well as the Renaissance Drama by Women, Routledge, edited by S.P. Cerasano and Marion Wynne-Davies. At least one other edition exists, but we haven't looked at it yet. The Beyond Shakespeare Podcast is supported by its patrons – become a patron and you get to choose the plays we work on next. Go to https://patreon.com/beyondshakespeare or follow us on Twitter @BeyondShakes or even go to our website: https://beyondshakespeare.org (https://beyondshakespeare.org/)

Exploring: The Tragedy of Antony (Act 3) From our pre-production Exploring sessions, where we read through the text of this play for future use towards an audio/stage show. The Tragedy of Antony is a translation of Robert Garnier's play, done into English by Mary Sidney, or Mary Herbert (Countess of Pembroke), in 1592. These are recordings of various readers and actors working through Act 3, as we tried to find a route into the play. It's the first step in a journey to understand and produce the play, with a plain text and full cast audio adaptation coming soon. Act Three returns us to the world of Mark Antony - discussing his fate (or his FATE) with his mate Lucilius, and then the chorus. Technically we will meet Antony again, in reported speech and as a very prominent corpse, but this is his last scene. It's also the last time we will meet this particular chorus. With cast member Heydn McCabe, Irregular regular Alan Scott, and the inevitable host, Robert Crighton.  There are a few editions of the play available both in print and online (one online version can be found here http://www.luminarium.org/renascence-editions/antonie.html) - we're very fond of the Three Tragedies by Renaissance Women, Penguin Renaissance Dramatists edition edited by Diane Purkiss; as well as the Renaissance Drama by Women, Routledge, edited by S.P. Cerasano and Marion Wynne-Davies. At least one other edition exists, but we haven't looked at it yet. The Beyond Shakespeare Podcast is supported by its patrons – become a patron and you get to choose the plays we work on next. Go to https://patreon.com/beyondshakespeare or follow us on Twitter @BeyondShakes or even go to our website: https://beyondshakespeare.org (https://beyondshakespeare.org/) Update Description (https://audioboom.com/posts/7483035-exploring-the-tragedy-of-antony-act-2/edit)

Exploring: The Tragedy of Antony (Act 2) From our pre-production Exploring sessions, where we read through the text of this play for future use towards an audio/stage show. The Tragedy of Antony is a translation of Robert Garnier's play, done into English by Mary Sidney, or Mary Herbert (Countess of Pembroke), in 1592. These are recordings of various readers and actors working through the the bulk of Act 2, as we tried to find a route into the play. It's the first step in a journey to understand and produce the play, with a plain text and full cast audio adaptation coming soon. The Beyond Shakespeare Irregulars this episode were Liz Cole and Alan Scott – with cast member Leigh McDonald, and the inevitable host, Robert Crighton. No cats were harmed in the making of this podcast. There are a few editions of the play available both in print and online (one online version can be found here http://www.luminarium.org/renascence-editions/antonie.html) - we're very fond of the Three Tragedies by Renaissance Women, Penguin Renaissance Dramatists edition edited by Diane Purkiss; as well as the Renaissance Drama by Women, Routledge, edited by S.P. Cerasano and Marion Wynne-Davies. At least one other edition exists, but we haven't looked at it yet. The Beyond Shakespeare Podcast is supported by its patrons – become a patron and you get to choose the plays we work on next. Go to https://patreon.com/beyondshakespeare or follow us on Twitter @BeyondShakes or even go to our website: https://beyondshakespeare.org (https://beyondshakespeare.org/)

Exploring: The Tragedy of Antony (Act 1 into 2) From our pre-production Exploring sessions, where we read through the text of this play for future use towards an audio/stage show. The Tragedy of Antony is a translation of Robert Garnier's play, done into English by Mary Sidney, Countess of Pembroke in 1592. These are recordings of various readers and actors working through the first Act, and part of Act 2, as we tried to find a route into the play. It's the first step in a journey to understand and produce the play, with a plain text and full cast audio adaptation coming soon. The Beyond Shakespeare Irregulars this episode were Mark Scanlon, and Alan Scott – with cast members Heydn McCabe and Rob Myson, and the inevitable host, Robert Crighton. There are a few editions of the play available both in print and online (one online version can be found here http://www.luminarium.org/renascence-editions/antonie.html) - we're very fond of the Three Tragedies by Renaissance Women, Penguin Renaissance Dramatists edition edited by Diane Purkiss; as well as the Renaissance Drama by Women, Routledge, edited by S.P. Cerasano and Marion Wynne-Davies. At least one other edition exists, but we haven't looked at it yet.  The Beyond Shakespeare Podcast is supported by its patrons – become a patron and you get to choose the plays we work on next. Go to https://patreon.com/beyondshakespeare or follow us on Twitter @BeyondShakes or even go to our website: https://beyondshakespeare.org (https://beyondshakespeare.org/)

Melvyn Bragg and guests discuss one of Shakespeare's most popular works, written c1595 in the last years of Elizabeth I. It is a comedy of love and desire and their many complications as well as their simplicity, and a reflection on society's expectations and limits. It is also a quiet critique of Elizabeth and her vulnerability and on the politics of the time, and an exploration of the power of imagination. With Helen Hackett Professor of English Literature and Leverhulme Research Fellow at University College London Tom Healy Professor of Renaissance Studies at the University of Sussex and Alison Findlay Professor of Renaissance Drama at Lancaster University and Chair of the British Shakespeare Association Producer: Simon Tillotson

Melvyn Bragg and guests discuss one of Shakespeare's most popular works, written c1595 in the last years of Elizabeth I. It is a comedy of love and desire and their many complications as well as their simplicity, and a reflection on society's expectations and limits. It is also a quiet critique of Elizabeth and her vulnerability and on the politics of the time, and an exploration of the power of imagination. With Helen Hackett Professor of English Literature and Leverhulme Research Fellow at University College London Tom Healy Professor of Renaissance Studies at the University of Sussex and Alison Findlay Professor of Renaissance Drama at Lancaster University and Chair of the British Shakespeare Association Producer: Simon Tillotson

Der Hamburger Berthold Goldschmidt hatte als deutscher Exilant in England mit seinen Kompositionen wenig Erfolg. Umso neugieriger war das Bregenzer Festspielpublikum auf das düstere Renaissance-Drama "Beatrice Cenci".

Literary Hyperlinks. vol.A, pp240-242

Digital Media Strategist Sarah Werner speaks at Digital Preservation 2013 about the mutual concerns of digitizing and preserving cultural heritage. Speaker Bio: Sarah Werner works at the Folger Shakespeare Library, which holds the world's largest collection of Shakespeare materials and one of the world's largest collections of printed works and manuscripts from the Renaissance. She was the founder and, for 7 years, the director of the Folger's Undergraduate Program, which brought DC-area students into the Library for semester-long seminars on the history of early modern books and emphasized a hands-on exploration of the materiality of texts. She is currently the Library's Digital Media Strategist, a position in which she seeks to connect the Library's rich material resources with digital tools, opening up access to the Library to scholars and the public across the world. Sarah has written and presented on the connections between early modern books and digital tools, including in her role as the editor and chief writer for The Collation, the Library's research blog. She is also the author of Shakespeare and Feminist Performance (Routledge 2001), the editor of New Directions in Renaissance Drama and Performance Studies (Palgrave 2010), and the textual editor of The Taming of the Shrew for the forthcoming third edition of the Norton Shakespeare. She is currently writing a textbook for studying early books and exploring how digital editions of Shakespeare's plays represent performance. For captions, transcript, and more information visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=5994