Shakespeare in performance in digital media


Urszula Kizelbach (Adam Mickiewicz University in Poznań)

Imke Lichterfeld (University of Bonn)


“Shakespeare’s imagination worked by restless, open-ended appropriation, adaptation and transformation” (Greenblatt 2009: 76), which rendered his plays open to metamorphosis and reinterpretation. Shakespeare and his works are present on Facebook, Twitter, or Tumblr in the form of “events”, “memes”, and “posts”. We can listen to shows on the radio and hear lectures on Shakespearean drama in the form of podcasts offered by academics, or take online courses on e-learning platforms including videos. National Theatre Live broadcasts of Shakespeare’s plays in performance lure thousands of younger and senior generations to theatres and cinemas. It is enough to mention the transmissions of Robin Lough’s Hamlet with Benedict Cumberbatch at the Barbican (2015) or Coriolanus starring Tom Hiddleston (2014) staged at the Donmar Warehouse to engage students.

We are seeking paper proposals for a seminar discussion based on the following aspects: what is the role of digital media and digital humanities in providing a reliable narration on Shakespeare’s plays? How might their function have changed as new forms of theatrical adaptability and media representation have emerged since Shakespeare’s time?

For our seminar, we seek proposals from graduate students and scholars. We are especially interested in (recent) Shakespearean stage productions and adaptations involving live theatre broadcasting, social media and digital media/the Internet. It will be interesting to discuss how Shakespeare’s plays are viewed in today’s highly technological and digitalized world. We invite speakers to share their ideas on digital humanities as a way of reflecting the changing mobility of discourses and aesthetics for the future, and whether the audience reception of the performance change with the malleability of the electronic medium (the Internet, the radio, live streaming, etc.).


Please send 200-300-word abstracts and biographies to and before 31 March 2017.