Early modern literature and religion, sermons, Shakespeare, adaptation, women’s writing
film especially 1939-1950 American film, text-to-film adaptation studies, reception studies, history of the novel, 18th and 19th century British literature, Shakespeare, poetry, etymology, psychological analysis of literature and film
ECR based at UWA. Lover of all things Shakespearean. I work for the ARC Centre for Excellence for the History of Emotions as its National Administrative Officer. I also work as the Executive Administrator for the Australian and New Zealand Association for Medieval and Early Modern Studies Inc., as the editorial assistant for the academic journals Parergon and Shakespeare Bulletin. My current research project, Reimagining Richard III: From Bosworth to Shakespeare and Beyond examines the cultural afterlives of Richard III, and analyses how these works interpret and visually embody Richard and his disability. This project links the study of early modern dramatic literature, performance, reception and adaptation studies, with medievalism/early-modernism, and the study of medieval history, disability and royalty.
I completed my PhD in 2016 with a thesis entitled ‘The Meaning of Massacre in Renaissance Drama, 1572-1642’ at The Shakespeare Institute. Since graduating, I have held posts at leading UK universities, including the University of Nottingham, the Shakespeare Institute, and Queen’s University, Belfast. My research focuses upon two interrelated strands: the representation of mass violence on the English renaissance stage; and the intersections between Shakespeare and global atrocities from the Holocaust to 9/11. In addition to articles in Early Theatre and the Journal of the British Academy, my forthcoming monograph – Massacres in Early Modern Drama – is under contract with Manchester University Press (due 2021). The first full-length study of the conceptualization and enactment of massacres in early modern drama, the book challenges a common orthodoxy – that massacres are senseless in feeling and reason – by drawing rich, complex, and competing meanings of massacres on the early modern stage.
Kendra Preston Leonard is a musicologist and music theorist whose work focuses on women and music in the twentieth and twenty-first centuries; and music and screen history, particularly music and adaptations of Shakespeare; and a librettist and poet. She is the founder and Executive Director of the Silent Film Sound and Music Archive (www.sfsma.org) and the founder and manager of Shakespeare in Early Film (https://sheaf.hcommons.org/).
Todd Landon Barnes is Associate Professor of Literature at Ramapo College of New Jersey. His essays and reviews have appeared in Shakespeare Bulletin, Public Books, Renaissance Quarterly (forthcoming), Weyward Macbeth: Intersections of Race and Performance, Shakespearean Echoes, Hamlet Handbook: Subject Matter, Adaptations, Interpretations, and Julius Caesar: A Critical Reader, part of the Arden Shakespeare’s Early Modern Drama Guides series. Barnes has served as dramaturg for the African-American Shakespeare Company in San Francisco, where he also worked in educational outreach. He is currently completing a monograph on Shakespeare, performance, and neoliberalism. He serves on the editorial board for Cambridge University Press’s forthcoming Elements: Shakespeare Performance series.
My work draws on adaptation and performance studies, as well as critical race and postcolonial theories, to understand the role that monuments and statues play in early modern European drama. My secondary interests in the racialization of space & spatialization of race, the history of playhouses in the united states, and the political role of ‘public’ Shakespeares. At the heart of my intellectual interests is my own political work with (and in solidarity with) transnational movements to oppose, remove, and dismantle those seemingly idle idols that memorialize white supremacy and Euro-colonial conquest.
I graduated with my PhD in Drama and Theatre Studies at NUI Galway in 2019, where I also teach. I am the author of the forthcoming Irish Shakespeares: Gender, Sexuality, and Performance in the Twenty-First Century, currently under contract with Routledge. This is an expansion upon my doctoral dissertation, ‘Shakespeare, Gender, and Contemporary Ireland: Performing and Recreating National Identities’ (fully funded by the Irish Research Council), which looks at contemporary Shakespeare performance by Irish practitioners inside and outside of Ireland, exploring their engagement with gender, queerness, and feminisms, and exploring this in tandem with its contested relationship with issues of Irish national identity. Case studies include Druid Theatre’s Henriad adaptation DruidShakespeare (2015), Shakespeare’s Globe’s production of The Taming of the Shrew (2016), the Abbey Theatre’s production of Twelfh Night (2014), and the Almeida/Harold Pinter Theatre production of Hamlet (2017). My research interests include: early modern performance studies; Shakespeare and Ireland; theatre and celebrity culture; theatre history and historiography; audience and reception studies; contemporary Irish and British performance; and queer and feminist theory and performance. I am currently writing and developing articles and book chapters on Irish Shakespeare performance; Shakespeare on film and celebrity culture; and the terminologies of early modern performance studies. From 2015-2018, I served on the steering committee of the Society for Theatre Research’s New Researchers’ Network. I also co-hosted the podcast Feminist Theatre Squadron, and have contributed my work to Women Are Boring, Shakespeare in Ireland, and Reviewing Shakespeare. I also teach undergraduates in Drama at NUI Galway, and have also taught in the Discipline of English at NUIG and in the School of English, Drama and Film at University College Dublin. I also teach in the School of English, Trinity College Dublin. I specialise in and have taught classes on theatre histories and historiographies; global Shakespeares; the history and practice of performing Shakespeare; film and Shakespeare; revenge tragedies; approaches to staging classical texts; modern Irish theatre; and comedy in performance. (And, of course, I am always open to specialising in other areas too.)
Angelina Del Balzo is Assistant Professor in the Program in Cultures, Civilizations, and Ideas at Bilkent University in Ankara, Turkey. Her research focuses on seventeenth- and eighteenth-century British literature and theater.
Andrea is researching the plays of Shakespeare on BBC Radio. She intends to complete this project in the BBC’s centenary year, 2022, having listened to as many extant recordings as possible; thought to be around 150. Her project is not just a history of these broadcasts, but examines the ways these adaptations transform a play text intended for the stage into radio. Prior to joining the UEA, Andrea had worked as a journalist and radio producer for many years, interrogating evidence from a very different perspective. Having left education at 18, she studied for her BA and MA with the Open University while working full time, receiving a Distinction for her Masters in 2019. She currently teaches Professional Writing Research and Practice at the University of Suffolk. Andrea is a CHASE DTP scholar. She is being supervised by Professor Matthew Woodcock and Professor Richard J. Hand.