ESRA CONGRESS 2017

Workshops

All workshops must be booked in advance. To sign up for the chosen one, please write an e-mail to: edukacja@teatrszekspirowski.pl

Number of participants is limited.

 

1.    Jay L. Halio: “Understanding Hamlet”

LIST FOR THIS WORKSHOP IS FULL NOW. NO MORE PLACES AVAILABLE.

 
Hamlet presents lots of problems, including textual ones. This workshop will try to understand what the most important problems are such as the causes of Hamlet’s delay, the nature of the Ghost, Gertrude’s ambiguous role, and the Christian context of the play.

Educated at Syracuse University and Yale has begun teaching English at The University of California and then moved to the University of Delaware. Professor has taught a wide variety of both graduate and undergraduate courses, specializing in Shakespeare and his contemporaries, but also teaching courses in modern British and American literature, modern drama, moral issues in modern literature, and Jewish American literature. The author or editor of more than thirty books, he has also published a   large   number   of   essays   and   chapters   in   books.   His   essays   have   appeared   in   “Shakespeare Quarterly”; “Shakespeare Studies”; “Studies in English Literature” and other leading journals. He has been a Fulbright Hays Senior Lecturer three times and has lectured at many universities at home and abroad. Under the Visiting Scholar Program of the Delaware Humanities Forum, professor visits a number of schools in the State of Delaware every year to discuss Shakespeare with students and teachers.   At   present,   though   technically   retired,   he   continues   to   teach   occasionally  at   both   the graduate and undergraduate level at the University of Delaware and abroad ducated at Syracuse University and Yale has begun teaching English at The University of California and then moved to the University of Delaware.

 

 


2.    Anna Ratkiewicz-Syrek: ”Ophelia – a daughter and sister”
The workshop focuses on Hamlet and treats Act 1 Scene 3 as a starting point for the discussion about the character of Ophelia – her motivations, emotions and feelings. In order to understand Ophelia it is significant to focus on her relationship with men – her brother Laertes and her father Polonius – they define, shape and influence her. One of the tasks for the participants will be to re-enact contemporary life while preserving emotional context such as the parting of siblings, a daughter’s (dis)obedience, being raised without a mother. During the workshop we will also attempt to answer the question: “What would happen if we wrote a play Ophelia, in which Hamlet would only be a supporting character?”

Anna Ratkiewicz-Syrek is a theatre and film expert and a graduate of Polish Philology at the University of Gdańsk. Currently, she is a first-year PhD student at the Faculty of Modern Languages. She completed a course on Theatre pedagogy run by the Theatre Institute in Warsaw. She is also a Secretary of the Polish Shakespeare Society. Since 2008 she has been an employee of the Gdańsk Shakespeare Theatre, where she holds the position of the Head of the Department of Education. She acts as a coordinator of local and international projects in the field of cultural education: “Teatr z klasą” (Classy Theatre), “Teatr i Edukacja” (Theatre and Education), “Teatralny Pasjans” (Theatrical Solo), “Letnia Akademia Szekspirowska” (Summer Shakespeare Academy), “Szeksploracje Kultury” (Cultural Shakesplorations). She teaches classes on Shakespeare and organizes workshops.  

 


3.    Marta Nowicka: ” Family bonds vs. family bondage: the case of Julia Capulet”
The workshop aims to revise the family relationships that are established between literary characters – we will attempt to transfer the plot form the textual sphere to the theatrical one. Some chosen scenes from Romeo and Juliet will be our starting point. At first, we will begin with simple theatrical tasks in order to end with authority problems, feelings of personal dependency, need of free will and freedom. We will consider how it is to be forced, live under oppression and to oppose somebody. The workshop is addressed to those who teach or would like to teach literature by using drama and theatrical techniques.

Marta Nowicka graduated from Serbian (BA) and Polish (BA and MA) philology at the University of Gdańsk. In 2009 she graduated from a Postsecondary School of Psychology and Sociology. She is a PhD student at the University of Gdańsk. Since 2009 she has been working at Gdańsk Shakespeare Theatre as an Education  Specialist, the position which involves running Polish and international projects, conducting workshops (for pupils, students, and elderly people). She creates new concepts for educational activity involving young people in the subject of theatre and other artistic events. Her scholarly interests encompass Cultural Otherness projects. Additionally, since 2013 she has worked at the Department of Performing Arts at the University of Gdańsk. She is a Board Member of the Polish Shakespeare Association and Secretary General of the Oracle Cultural Network.

 


4.    Sara Remeris: “Short Shrews and Tall Tamers: How might a reassessment of typecasting provide inspiration for new interpretations of Shakespeare’s plays?”
How do twenty-first century staging conventions impact on the way we understand Shakespeare’s plays and how might a fresh approach to casting help us re-imagine Shakespeare for contemporary audiences?  Focussing on Shakespeare’s The Taming of the Shrew this workshop aims to explore these questions, examining casting’s potential for creating new interpretations of Shakespeare’s plays.
The Taming of the Shrew is a play that has benefitted from innovative approaches to casting.  Since the turn of the twenty-first century there have been a variety of single-sex and cross-gender professional productions of the play in the UK.  Beginning with a brief overview of the play’s recent performance history, this workshop will go on to explore how a consideration of an actor’s embodied characteristics – his or her height or size – might be used playfully to subvert the gender politics of this problematic play.  Participants will perform short extracts from the play and experiment with how meaning is created through bodies as well as text.

Sara Reimers is a director and dramaturg working in London.  She is also a PhD candidate at Royal Holloway, University of London where she has just submitted a thesis which explores the way in which casting constructs femininity in contemporary stagings of Shakespeare’s plays. She has run workshops for a number of companies including By Jove Theatre Company and Librarian Theatre.  Sara has also worked for Shakespeare’s Globe, providing dramaturgical support for the inaugural season in the Sam Wannamaker Playhouse.  Sara is an Associate Director with Lazarus Theatre Company, for whom she is currently directing a production of The Taming of the Shrew at the Brockley Jack Theatre.

 


5.    Michael Saenger: “Shakespeare Between Languages”
Shakespeare was English by nationality, but he never confined himself to the English language. Subsequent translations have moved his works around the globe, and more recent theory has challenged long-held ideas of translation as a paradigm of loss. Working within the fluent languages of the seminar participants, we will examine several moments in translated Shakespeare. Through these moments, and with reference to some key translation theorists, we will share information on grammar and meaning, and we will track how Shakespeare’s structures are morphed or regenerated in new and variegated linguistic environments.

Michael Saenger is Associate Professor of English at Southwestern University in Texas. He is the author of two books, The Commodification of Textual Engagements in the English Renaissance (Ashgate, 2006), and Shakespeare and the French Borders of English (Palgrave Macmillan, 2013), and editor of Interlinguicity, Internationality and Shakespeare (McGill-Queen’s UP, 2014), and has recently published articles in Shakespeare Survey and English Text Construction. Teaching and research have been his passion for some time, but he got into Shakespeare by performing plays as an actor, and he has directed and acted in a variety of plays through the years.