22-24 April, 2016
Kronborg Castle, Helsingør, Denmark
During his lifetime William Shakespeare was already being hailed as the greatest writer of his day, and the intervening 400 years have only increased his reputation. No other literary figure has affected world culture so profoundly, or has had such a widespread influence on other thinkers and artists. William Shakespeare is the most universally recognised, culturally iconic figure in the world. But why?
For three days in April 2016, on the 400th anniversary of his death, actors and academics, scholars and writers, historians, comic artists, game designers and film makers will be coming together from all over the world, meeting at Elsinore – ‘Hamlet’s castle’ – to discuss and debate the legacy, and the future, of Shakespeare’s work.
This conference/festival will explore two great questions: why, after 400 years, do we continue to read, study, perform, and enjoy the work of this playwright and poet, and how, in the next 400 years, will we continue to do so? Will we present Shakespeare in new ways? Will we use new technologies? New media? Will Shakespeare become a basis for further new works which use him as a launch pad, or even as raw material, or will we go back to the simplicity of his words themselves?
This historic conference truly is a once-in-a-lifetime opportunity, offering a chance to be part of a worldwide commemoration of the death of the writer who, ironically, more than any other, deserves the title of immortal. Participants and contributors from every corner of the globe have already signed up.
Warning: Some people are planning to leave booking very late. There are two reasons NOT to do this if it is at all avoidable. Firstly, anyone from a country which requires a visa to enter Denmark needs a receipt from the conference to get one, and secondly, we are compiling the programme as we go, which has to be translated into more than one language. This takes time. Anyone who has not registered by the time it goes to print will not be included in the Conference programme, although they will of course still be eligible for publication.
Confirmed keynote speakers include:
Judith Buchanan is Professor of Film and Literature and Director of the Humanities Research Centre at the University of York. She is the author of, among other things, Shakespeare on Film, Shakespeare: Four Late Plays and the definitive Shakespeare on Silent Film: An Excellent Dumb Discourse, and is the editor of The Writer on Film: Screening Literary Authorship. She is co-Director of the York International Shakespeare Festival and Director of Silents Now. She is co-writer and Shakespeare consultant for a new feature of Macbeth scheduled for release in June 2016.
Richard Burt is Professor of English and Advanced Loser Studies at the University of Florida and the co-author, with Julian Yates, of What’s the Worst Thing You Can Do to Shakespeare? (2013) and the author of Medieval and Early Modern Film and Media (2008); Unspeakable ShaXXXspeares: Queer Theory and American Kiddie Culture (1999); and Licensed by Authority: Ben Jonson and the Discourses of Censorship (1993). He is also the editor of Shakespeares After Shakespeare: An Encyclopedia of the Bard in Mass Media and Popular Culture (2006); Shakespeare After Mass Media (2002); and The Administration of Aesthetics: Censorship, Political Criticism, and the Public Sphere (1994). He is the co-editor of Enclosure Acts: Sexuality, Property, and Culture in Early Modern England (1994), Shakespeare the Movie: Popularizing the Plays on Film, TV, and Video (Routledge, 1997) and Shakespeare the Movie, II: Popularizing the Plays on Film, TV, Video, and DVD (Routledge, 2003). Burt! has also published lots of articles and book chapters. He held a Fulbright scholarship in Berlin, Germany from 1995–96, and taught there at the Free University and the Humboldt University. Burt teaches courses on a wide variety of subjects.
More about Professor Richard Burt
At George Washington University in Washington, D.C., she is the founding co-director of the Digital Humanities Institute and Professor of English, Theatre and Dance, East Asian Languages and Literatures, and International Affairs. Co-founder of the open-access MIT Global Shakespeares digital performance archive, Alexa's latest book is Shakespeare and the Ethics of Appropriation (co-edited; Palgrave, 2014). She is co-general editor of the Shakespeare International Yearbook, performance editor of the Internet Shakespeare Editions, and edits the Palgrave-Macmillan book series on Global Shakespeares. Alexa held the Fulbright Distinguished Chair at Queen Mary University of London and University of Warwick, and is currently ACLS (American Council of Learned Societies) Frederick Burkhardt Residential Fellow at the Folger Shakespeare Library.
More about Professor Alexa Huang
An experienced director in both film and theatre, Professor Karimi-Hakak has directed productions both in Iran and America, where he is now Professor of Creative Arts at Siena College in New York State. He has authored seven plays, two volumes of poetry and many translations into Persian or from Persian into English. He has battled censorship over his Shakespeare productions in Iran, and won awards for his performances in Iran, Europe and America. He is currently director of Festival Cinema Invisible.
John Andreasen, MA in Nordic Languages and Literature and MA in Dramaturgy, is associate professor in Dramaturgy and Musicology at Aarhus University in Denmark, where he teaches theatre production and cultural politics. JA has mostly studied street theatre, community plays and Scandinavian cultural politics. In 1983 he initiated the community play, The AarhusPlay (ÅrhusSpillet) with 11 first nights in 9 days. In 2002-3 he sketched 8 new set designs for “A Doll’s House”.
Among others he has published Teaterproduktion (Theatre Production) 1982, “Community Plays – a Search for Identity” in TRI 1996. Some of his theatre visions are sketched in “Third manifesto: We shall come to see” in NTQ 1983 and “Theatre - Five Futures or Fuwtuwrews” in Interlitteraria 2002. In Odin Teatret 2000 he wrote about “The Social Space of Theatre - including Odin Teatret”. In 2007 he was a co-writer on the first theatre encyclopaedia in Danish. His latest books are Multiple Stages 2 – on performances, analyses models & cultural politics from 2012 and Drama Teaching & Mnemonics – an extended version from 2015.
Boram Choi holds an MA from the Department of Performance Studies, Tisch School of Arts at NYU. Currently she is a research student studying Shakespeare and his dramatic criticism in the Department of Theatre and Performance at Goldsmiths College, University of London. She has worked on a number of theatre productions as a director, actor or dramaturg in Seoul and New York. She has also been involved in the multicultural project A-S-I-A (The Asian Shakespeare Intercultural Archive) for several years as a translator. Her academic work mainly focuses on the aesthetic of intercultural Shakespeare in East and Southeast Asian theatres in the 21st century, especially the process of intercultural translation from Shakespearean language into performing body and scenography.
Dr Yilin Chen is an associate professor in the Department of English Language, Literature and Linguistics at Providence University (Taiwan). She has published papers on Asian Shakespeare adaptations and performances in several theatre journals. Her current research is the representation of gender and sexuality in manga adaptations of Shakespeare. Her recent teaching research projects include online academic writing and the MOOC Global/Local Shakespeare. Both projects are funded by Taiwan Ministry of Educate. The thirteen-week MOOC Shakespeare course, first taught and recorded by her and Prof. Alexa Huang, Prof. Ryuta Minami, Prof. Yukari Yoshihara, Prof. Ian Maclennan and Prof. Wen-ching Lia Liang in summer 2014, is available online now. They welcome learners from all over the world to meet and discuss Shakespeare, popular culture, and performance in their own cultures.
English sign up page for the MOOC Global/Local Shakespeare
Anthony R Guneratne is Professor of Communication and Multimedia Studies at Florida Atlantic University. A film historian, Shakespeare scholar, and specialist in performance practices and adaptations into diverse media platforms, he has most recently written on Shakespeare's use of the conventions of contemporary music-drama and of his treatment of the aesthetic discourses circulating in his own time. His publications include a thematic history of film adaptations of Shakespeare ("Shakespeare, Film Studies, and the Visual Cultures of Modernity," Palgrave: 2008) and an edited collection that exemplifies contemporary conceptual and interdisciplinary approaches to Shakespeare ("Shakespeare and Genre," Palgrave: 2011).
Anthony Haigh is Professor of Theatre at Centre College in Kentucky where he teaches Shakespeare, dramatic literature, acting, playwriting and theatre history. He is also a Fellow of the Rose Bruford College of Theatre and Performance in London where he has taught and directed as a key practitioner for several years. As well as teaching and directing at the college level for 42 years, Professor Haigh has maintained an active professional life; recently performing at Actor’s Theatre of Louisville, Actors Guild of Lexington, Lexington Children’s Theatre, Pioneer Playhouse, and the Pines Theatre in Tennessee. He has directed many Shakespeare plays – most recently Macbeth – as well as plays my Webster and Haywood, he was Artistic Director of Shakespeare at Equus Run, an outdoor summer theatre located in a Kentucky vineyard. He has devised several Shakespeare touring programs taking Shakespeare into schools, and he studied at the summer school of the Shakespeare Institute in Stratford and on the Museum of London’s Shakespeare’s London program. He is also a founding director of Scarlet Cup Theatre, a former board member of Actors Guild of Lexington and a Past President of The Southeastern Theatre Conference – the largest theatre organization in America. He trained as an actor at the Rose Bruford College and holds a master’s Degree from the University of Lancaster and a PhD from Michigan State University.
Ulla Kallenbach holds a PhD in Arts and Cultural Studies (University of Copenhagen, Denmark) where she has worked as external lecturer. She holds a MA in Text and Performance (Royal Academy of Dramatic Arts (RADA)/King’s College London) and a MA in Theatre Studies (University of Copenhagen, awarded the university’s gold medal for her thesis Space and Visuality in the Drama Text). Her research focuses on dramaturgy informed by two main perspectives: a philosophic perspective exploring the cultural history of imagination; and a scenic perspective exploring the performativity of the text and the point of view of the spectator. She is a board member of the Association of Nordic Theatre Scholars and is presently Co-Editor of Nordic Theatre Studies. Publications include, ‘Macbeth - The Catastrophe of Regicide and the Crisis of Imagination’, The Cultural Life of Catastrophes and Crises, C. Meiner & K. Veel (eds.), Walter de Gruyter (2012), 193-202
An experienced director in both film and theatre, Professor Karimi-Hakak has directed over sixty productions in Iran, Europe, and America. His Iranian production of Shakespeare’s A Midsummer Nights Dream was raided and closed down by the Iranian authorities forcing him to immigrate to the United States, where he is now Professor of Creative Arts at Siena College in New York State. A recipient of four artistic and scholarly awards, Karimi-Hakak has authored seven plays, two volumes of poetry and several translations into Persian or from Persian into English as well as numerous essays and articles in both languages. He is the Founder and President of Festival Cinema Invisible dedicated to presentation of the works of Middle Eastern artists and filmmakers who may not have access to other mediums.
Ryuta Minami is Professor of English at Shirayuri College, Japan. He has extensively worked on early modern English drama and the receptions and adaptations of Shakespeare in Asia. The Japanese books so far published include A Companion to English Restoration Drama (in Japanese) that he co-edited for Shohakusha in 2009. Minami also co-edited Performing Shakespeare in Japan (Cambridge University Press, 2001& 2010) with Ian Carruthers and John Gillies and Re-playing Shakespeare in Asia (2010: Routledge) with Poonam Trivedi. He also authored chapters for Dennis Kennedy and Yong Li Lan’s Shakespeare in Asia (Cambridge University Press, 2010), Bi-qi Beatirce Lei and Ching-His Perng’s Shakespeare in Culture. (National Taiwan University Press, 2012) and Irena Makaryk’s Shakespeare and the Second World War (University of Toronto Press, 2012) among others. He is currently working on animation films and manga of Shakespeare and their digital fandom.
Sraddha Nag holds a masters in English literature from the University of Kolkata, India, and has been working as a lecturer in English in Panihati Mahavidyalaya, Sodepur, Kolkata since 2009. She is pursuing her PhD at Rabindra Bharati University, Kolkata and is in the final year of submitting her thesis. Her research concerns the psychoanalytic reading of literary characters, particularly in relation to the doppelganger motif embedded in the divided self of both the author and the characters depicted. She has participated in various national and international conferences among which the latest was the 25th UGC international conference on Shakespeare Redefined, held in Rabindrabharati University, Kolkata, in March, 2015. She presented her research paper titled Angel vs Monster: Madness wins which was based on a comparative study of the mental illness in Ophelia and Lady Macbeth from Shakespeare’s Hamlet and Macbeth.
Ronan Paterson began acting professionally touring Shakespeare plays around Ireland from the age of 19. He somehow managed to get two degrees from Trinity College Dublin while working as an actor, and spent two years as an assistant director at The Abbey, Ireland's National Theatre. As well as an extensive series of credits for both stage and screen he was Artistic Director of four different theatre companies in the UK and Executive Producer with a television production company, before moving into teaching. Since then he has been either Programme Leader or Department Head in Newcastle College, University of Winchester, Queen Margaret's University, Edinburgh, and for the last nine years Teesside University. He continues his professional practice, is a frequent speaker at conferences all over the world, and has published a number of book chapters and articles in peer-reviewed journals in different countries. He is currently completing a book about Soviet era Shakespeare films.
Richard St. Peter is an award-winning stage director, producer, and educator with more than 15 years’ experience in professional and academic theatre. He is currently in his third year as an Assistant Professor of Theatre at Clemson University in South Carolina. He has presented papers at various conferences including the 2014 and 2016 Craiova International Shakespeare Conference, the 2015 European Shakespeare Research Association conference at the University of Worcester and the 2011 Blackfriars Conference at the American Shakespeare Center. An accomplished professional director, his classical directing credits include Hamlet, Romeo and Juliet, The Taming of the Shrew, Twelfth Night, The Two Gentlemen of Verona, and Marlowe's Edward II. From 2003 to 2009 he served as the Artistic Director of Kentucky’s Actors Guild of Lexington, where he produced or directed over 40 shows. He has previously served as the Associate Artistic Director of TheatreVirginia and Barksdale Theatre. Since 2006, he has served as a visiting lecturer at Rose Bruford College. Dr St. Peter received his MFA in Stage Directing from Virginia Commonwealth University in 1998 and his PhD in Fine Arts at Texas Tech University in 2013.
Martin S. Regal is Associate Professor of English at the University of Iceland. His Harold Pinter: A Question of Timing (Macmillan, 1995) explores the manipulation of temporality in Pinter’s works. Martin’s keen interest in both Old Norse and translation studies led to the publication of The Gisli of Gisli Sursson and The Saga of the Sworn Brothers in new translations (Penguin Classics 2004 & 2013). Among his more recent publications are Inside Voices: Outside Light, a critical introduction to the poems of Sigurdur Palsson (Arc Publications, 2014) and An Intimacy of Words (Univ. of Iceland Press, 2015, ed.). He is currently working on a number of projects, the preparation of a critical edition of Harold Pinter’s The Hothouse and No Man’s Land in Icelandic translation, a glossary of adaptation and intermedial studies terminology (with Eckart Voigts) and the volume on tragedy for the Routledge Critical Idiom Series, all three of which are due to appear in 2016. He was recently elected as the first president of the newly founded Nordic Society for Shakespeare Studies (NorSS).
Dr Ema Vyroubalová is an assistant professor in the School of English at Trinity College Dublin. She has published on early modern English drama, travel writing, and cultural history and is especially interested in global Shakespeare, all people and things foreign in early modern England, and early modern travel writing about the Middle and Near East. She is currently completing a monograph on multilingual elements in Elizabethan and Jacobean theatre as well as a chapter on Shakespeare in Iran and Afghanistan for Blackwell's Companion to Global Shakespeares. She is an area editor for the Elizabethan and Jacobean volume of the online Literary Encyclopedia, for which she has been developing a new section on Shakespeare films.
In addition there will be two seminars aimed specifically at postgraduate students:
We invite papers, performances and provocations. Please click on the titles below for more information.
Chair: Dr Ian Maclennan (Laurentian University)
We invite abstracts/proposals from anyone interested in presenting a short performance in any format – live, filmed or digital.
In 2005, the Chinese University of Hong Kong first hosted the Chinese Universities’ Shakespeare Festival. The goal of the festival was to have Chinese speaking universities submit a 20 minute interpretation of one of Shakespeare’s plays. The restrictions were that each submission could be no more than 20 minutes long, text from the plays only, and the casting was restricted to three actors. This festival created some very interesting and intriguing presentations and interpretations.
For this conference, the seminar will have a two-pronged approach. Papers on adaptations of Shakespeare, in any format, are welcome as are 20 minute Shakespeare presentations, using the remit of the CUSF as the format of the presentation. It is our hope that there will be a number of presentations that will include students and faculty as well as scholars and researchers. The boundaries of this seminar are quite fluid except for the CUSF format.
Co-chairs: Ronan Paterson (Teesside University) and John Andreasen
Shakespeare’s writings are studied in almost every country in the world, but Shakespeare represents many different things in different cultures and contexts. Why do students and scholars in so many countries spend so much time studying the works of a long-dead Englishman? In a post-colonial world, what does Shakespeare represent as part of the curriculum? Is Shakespeare truly universal? Or does he represent a set of specifically English values rooted in his own time and culture?
If we are to continue to give Shakespeare this privileged position in our schools and universities, how are we to engage students of the 21st century in the study of this extraordinary writer, separated from our own time by linguistic complexity and four centuries of very different experiences?
Proposals for papers are invited on topics in this broad area of focus. Please send initial abstracts of 150-200 words to email@example.com by 5 December 2015.
Chair: Boram Choi (Goldsmiths College, University of London)
The goal of this seminar is to discuss the concept of gender and sexuality explored in Shakespeare’s plays and the theatrical practice of all-male casting in both early modern and contemporary theatre productions. The theme of gender identity frequently occurs in Shakespeare’s plays, particularly romance and comedy such as As You Like It, Twelfth Night, Two Gentlemen of Verona and Cymbeline in which heroines often disguise themselves as young men to continue their journey. Also, in historical and tragic plays like Richard III, King Lear and Othello, most female characters are powerful but victimized by male heroes in political situations.
This seminar welcomes new ideas about gender and sexuality in Shakespeare’s works and aims to broaden the understanding of its conception through theoretical approaches to the texts and theatre adaptations. It also invites the study of audience reception and performance criticism with a consideration of how the gender images of characters are constructed and developed in specific social, cultural, and political conditions.
Please submit abstracts of no more than 300 words to firstname.lastname@example.org by 5 November 2015, specifying which seminar you are interested in.
Chair: Sraddha Nag (Rabindra Bharati University)
In the 21st century the binary concepts of good and evil have undergone evolutions of epic proportions. What is good and what is bad can hardly be summed up in definitive phrases when the very concept of truth has been analysed as a social construct promoted by the powerful and the majority. Thinkers have challenged the entire western epistemological structure which is based on categories comprising of binary opposites such as good-evil. All these changes in the ideological universe of mankind have occurred long after Shakespeare composed his plays where he frequently dealt with the subject of evil.
In our world, where an entire paradigm shift in the sphere of critical thinking has taken place, reading Shakespeare’s villains in a new light appears necessary. In today’s society, dominated by the use of public forums and social media, truth or lie, good or bad are often measured in terms of how many likes or shares a click or post gets. Where do we place our villains here? How do we define villainy?
This seminar seeks to explore as many ways as possible to approach an answer to this question. Participants are therefore encouraged to be innovative, to open up new windows in reading the great villains of Shakespeare. Participants are able to choose characters both from the Bard’s tragedies and comedies, men and women, for redefining evil. Hence, a rereading of the bad people found in Shakespeare’s plays, irrespective of gender, genre and conventional role-plays, is the theme of this seminar.
Please submit abstracts of no more than 300 words to email@example.com by 30 December 2015.
Co-chairs: Professor Anthony Haigh and Dr Richard St Peter
Theatre practitioners from all disciplines – directors, designers, actors, anyone professionally and artistically involved in the production of theatre – are invited to submit papers or presentations for dissemination.
Presentations can be papers, extracts, short trailers, films, or anything else that seems appropriate. Sessions at the conference will be 2.5 hours long, which will allow for 7-10 presentations plus questions. Each person chosen to present will be assigned a respondent who will be given the appropriate materials beforehand and will begin the conversation.
A comprehensive collection of presentations will be published online after the conference, as well as an exemplar of the work of the group in hard copy format.
Please submit an abstract of no more than 300 words outlining your area of interest, your professional background, the format of your presentation and the central thesis of your argument to firstname.lastname@example.org and email@example.com by 1 February 2016.
Chair: Dr Ema Vyroubalova
‘Shakespeare is foreign to all of us’, declares Dennis Kennedy in his introduction to Foreign Shakespeare: Contemporary Performance. Foreign is meant here primarily in its linguistic sense: contemporary Anglophone audiences/readers consuming Shakespeare in the original early modern versions are inevitably accessing the works through a historical dialect so removed from the English(es) they themselves speak that to some extent it functions much like a foreign language.
The only other option is to read (or watch) Shakespeare in a translation into what is literally a different language. The only notable exception is the relatively marginal phenomenon of translation into modern English. While Kennedy's 1993 volume was interested in that literally foreign category of the plays' stage productions, this panel is looking for papers discussing aspects of any of the languages in which textual, theatrical, and cinematic versions of the plays are presently available, including Shakespeare's so-called original early modern English.
In keeping with the conference theme, we particularly welcome contributions that, as one of their concerns, address future directions of the specific relationship between Shakespeare and language they have chosen to explore.
Possible topics include:
Please submit abstracts of no more than 300 words to firstname.lastname@example.org by 1 December 2015. Specific questions about the Shakespeare and Language(s) Seminar can be sent directly to email@example.com.
Chair: Anthony Guneratne
The idea of "rediscovery" central to this seminar session encompasses a wide array of interdisciplinary approaches that are altering once uneventful landscapes of Shakespeare scholarship. What constitutes "Shakespeare" and what makes his 400-year old corpus relevant to this new century could hardly have been predicted even a generation ago: they result from rediscoveries stemming from computational techniques and web interfaces, from new bibliographic and philological approaches that are bringing to light particular reading practices, from chance discoveries of printed matter (even entire Folios) that are now analyzed in terms of how they were put to use, from the rediscovery of Shakespeare as a contributor to the public sphere of his time and an increasingly relevant agent of social change in the present, and even from new discoveries and radical re-readings resulting from and, in turn, reshaping pedagogical approaches, historical research, and renewed performance practices.
Proposed topics within the seminar:
Chair: Yukari Yoshihar
The goal of this seminar is to explore various forms of Shakespeare’s works made into graphic formats, including four-panel comic strip, illustrated books, graphic novels, comics, bande desinee, anime, manga and others.
We have Classics Illustrated Shakespeare, De Lucca’s Hamlet, SelfMadeHero’s celebrated Manga Shakespeare Series, Romeo X Juliet, Psycho-pass, you name it. Some of them keep fairly close to the original, others can be slap stick comedies. What are these graphic Shakespeares doing to the cultural authority of Shakespeare? Are they butchering his works? Or are they opening up another possibilities for Shakespeare’s works for the next 400 years?
Please send the initial abstracts of 150-200 words to firstname.lastname@example.org by 20 December 2015.
Chair: Rytua Minami
The last few decades witnessed a rapid increase in academic interests in Shakespearean performances using indigenous theatre traditions or local theatre conventions. The encounters of Shakespeare with indigenous or local theatre practices not only enrich or alter local staging practices but also open up new possibilities of staging or interpreting Shakespeare’s plays. This seminar aims to consider significances of Shakespearean performances that will reflect the socio-cultural or political milieus of the specific time and locus of performance. This seminar will also welcome discussions on various adaptations of Shakespeare’s plays.
Please send abstracts of less than 300 words to email@example.com by 20 December 2015.
Chair: Dr. Yilin Chen
In the Information Age, it is almost impossible to avoid new media, such as websites, blogs, and social media or computer games in daily life. This seminar hopes to explore how technology is employed in teaching, learning and promoting Shakespeare commercially. The 21st century learning inevitably include all sorts of media, and one of the most current and groundbreaking online educational instruments is MOOCs (Massive Online Open Courses). The emergence of game-based learning and mobile learning assists this revolutionary change in education. Recent years, computer games and APPs are incorporated into learning languages and other subjects. The most present record shows that over 1 billion people in the world play computer and videogames. It appears that the younger a person is, the more likely it is he or she plays.
Considering the power of the Internet games, this seminar invites papers to examine how Shakespeare is taught, adapted and entertained in the digital world. In terms of distance learning, this seminar looks for papers on the employment of the latest technology or medium (like MOOCs and APPs) in teaching Shakespeare. Given that a well-designed game can achieve specific learning goals, this seminar also welcomes papers on the game development. If it is designed to be an educational game, papers which discuss the assessment on student learning outcomes, and student behavior are high recommended.
Please send abstracts of less than 300 words by 20 December 2015 to firstname.lastname@example.org
Chair: Martin S. Regal
While post-Restoration playwrights and actor/directors often radically reshaped and often rewrote many of Shakespeare’s plays, attempts to return to the authority of the “original” plays that began in the mid-19th century gathered such momentum that adaptations regarded as deviating from those texts were seen as transgressive. Yet, far from having negative connotations, transgression may be regarded as central to Shakespeare’s approach to theatre. Indeed, in his “Preface to Transgression,” Michel Foucault speaks of transgression as an “affirmation of division,” an opportunity to move into previously uncharted territory. This session invites proposals that question the primacy of genre, medium and decorum of Shakespeare both in the academy and in performance.
Please submit abstracts of 200-300 words by 10 February to email@example.com
The two providers shown below have both offered special rates for delegates, and both have been recommended by the tourist board.
They are in reasonable proximity to the Castle, and offer different kinds of accommodation for different budgets. Delegates should book their own accommodation, but please refer to the conference when making the booking. The homepage of the website for Konventum is not in English, but as soon as you have filled out Antal personer (Number of persons), the date and Find værelse (Find room), you will be guided to booking.com which is in English.
Konventum is a delightfully situated, modern conference centre a short taxi ride or bracing walk from the castle, whereas the Marienlyst is an attractive hotel combining modern and period features located in proximity to the sea.
Single standard: DKK 640 incl. breakfast
Double or twin standard: DKK 820 incl. breakfast
Single standard: DKK 1095 incl. breakfast
Single seaview: DKK 1290 incl. breakfast
Double standard: DKK 1295 incl. breakfast
Double seaview: DKK 1490 incl. breakfast