Nora J. Williams (Lecturer in Shakespeare and Early Modern Drama, University of Essex) chats to Emma Whipday about her practice as research project ‘Measure (Still) for Measure’, which allows participants to talk back to Shakespeare, and what it means to perform early modern plays today.
The O.J.M.O. tells us about wrestling, especially acrobatics, grappling and selling. We hear about what it’s like to be in the ring, and the way in which audiences, promotions and the match’s contexts change the ways wrestlers perform.
Perry Mills discusses Edward’s Boys, a school theatre company specialising in non-Shakespearean early modern drama. He tells us about the company’s rehearsal process, production choices and what it means to work with such unusual and often surprisingly violent and sexual plays.
To celebrate the launch of Pascale Aebischer’s new book, Shakespeare, Spectatorship, and the Technologies of Performance (Cambridge University Press), Pascale discusses the relationship between theatre and technology, social media, and digital engagement for performances today and under lockdown…
In our new series on things, objects, and cultural history, Callan Davies looks at Shakespearean theatre history from the starting point of some food waste… A whistlestop tour of “Shakespearean” playhouses via the perspective of some +400-year-old apple seeds, exploring the relationship between fruit and special effects, playgoing experience, seasonality, and playhouse structure.
Fruit seeds and nutshells image: Fruit seeds and nutshells from the Rose Theatre. Copyright: Museum of London.
Will Tosh, Research Fellow and Lecturer at Shakespeare’s Globe, talks to Emma Whipday about little-known Elizabethan sonneteer (and friend of Shakespeare) Richard Barnfield, sexual identity, literature as consolation and why sexual desire is like a nest of snakes under a hedge…
Sarah Grange tells us about Moll Frith (also known as Mary Frith), an early modern crossdresser, queer and transgender history and performance: ‘how to meet those people who lie outside of the cishet, white male trajectory of progressive history: not the dudes on horses’.
Emma Whipday explores how the home was associated with the female body in Shakespeare’s England – and how this idea influences how Shakespeare stages women in windows in Romeo and Juliet and The Merchant of Venice.