Shakespeare Association of America

Seminars and Workshops

Enrollment in SAA seminars and workshops is open only to members in good standing who are college and university faculty, independent scholars, and graduate students at the dissertation stage. Any member who has been found in violation of SAA policies is ineligible to enroll in SAA seminars and workshops.

Enrollments for 2022 seminars and workshops are accepted beginning on 1 June 2021. All enrollees are required to submit four different choices. Spaces are filled on a first-received, first-enrolled basis. Seminar and workshop leaders, as well as those appearing in panel sessions, are ineligible to enroll in seminars and workshops.

The closing deadline for seminar and workshop enrollment is 15 September 2021.

2022 Virtual Seminars

A. Early Modern Ecocriticism and Critical Race Studies

Hillary Eklund (Loyola University New Orleans)
Jennifer Park (University of North Carolina, Greensboro)
Debapriya Sarkar (University of Connecticut, Avery Point)
Ayanna Thompson (Arizona State University)

This seminar invites papers on the intersection of early modern ecocriticism and premodern critical race studies. How might studies of early modern literature attend to our presentist concerns? How can research on environmental catastrophes, refugia, or natural resources expand studies of colonization and empire? How might studies of race and gender foster an intersectional ecofeminism? How might we better explore the entanglements of racial, social, and environmental injustice?

B. Explorations of Cultural Trauma from the Early Modern Stage to Today

Devori Kimbro (University of Tennessee, Chattanooga)

This seminar will explore the role of cultural trauma in the legacy of the early modern stage. How did early modern playwrights respond to cultural traumas of the day with their productions, and how are modern theatrical companies and directors still drawn to these early modern stories to explore modern cultural trauma, and do such productions result in catharsis or agitation? Participants may explore either original or modern stagings of these texts mounted in response to cultural traumas.

C. New Tales of Winter

Peter Kirwan (University of Nottingham)

From tyrannical rulers rejecting truth, to asylum seekers fleeing persecution across borders, to the public trying of a woman’s virtue, to the (mis)fortunes of the itinerant, the stories of The Winter’s Tale have reverberated with unexpected resonance in recent years. This seminar invites participants to contribute new work on race, migration, gender, ecology, childhood, performance, trauma and more, telling new tales of The Winter’s Tale and its resurrections.

D. Performance during Pandemic: Shakespeare and Covid

Douglas M. Lanier (University of New Hampshire)

Though the Covid pandemic of 2020 and 2021 was devastating for conventional stage productions, practitioners were ingenious in crafting new ways of performing Shakespeare amidst severe restrictions. This seminar will explore Shakespearean performance during the pandemic: what new formats of performance emerged? What economic, sociopolitical, ethical and ideological issues do these formats and particular productions raise? Case studies and accounts by practitioners are especially welcome.

E. Pericles, Prince of Tyre

Adam Smyth (Balliol College, Oxford University)

This seminar will explore current thinking about Pericles, Prince of Tyre. Contributions from all disciplinary and theoretical perspectives are welcome: work that is new, still-in-process, unresolved, speculative or even risky is particularly encouraged. Papers are welcome that consider Pericles in relation to its original historical moment, to our 2020s, to periods in between – or that rethink ideas of contextual frames entirely. What questions are we not yet asking about this play?

F. Twelfth Night

Emma Smith (Hertford College, University of Oxford)

Twelfth Night has been a key text for understanding Shakespeare’s “bittersweet,” “cross-dressing” and “festive” comedy: these critical cliches need rebooting. This seminar invites work on the play that engages with new approaches: performance and theatre history; gender, queer, and trans studies; historical investigations of social rank and status; editing and book history; and critical race studies and the occluded orientalism of its Illyrian setting.

2022 In-Person Seminars

01. Archival Violence and Early Modern Research: Building Inclusive Practice

Erin Julian (University of Roehampton)
Clare M. McManus (University of Roehampton)

How can intersections between the early modern archives and queer theory, critical race studies, feminism and disability studies generate inclusive methodologies for archival research, mitigating the violence of selection, access and terminology? We seek contributions connecting archives to PaR, theatre history, historiography and textual studies; on curatorial practice, digital collections and open access; and speculation on new archives for cultural institutions and marginalized communities.

02. Archives and Sustainability: Pasts and Futures

Megan Heffernan (DePaul University)
Jane Raisch (York University)

This seminar explores questions of sustainability and conservation in early modern archives, physical and digital. Construing sustainability broadly, we consider how histories of literature, materiality, and performance might be brought into the present responsibly. How can public engagement keep historical knowledge relevant? Can environmental stewardship function as historical curation? How might archives on the peripheries reshape our understanding of Shakespeare and early modern literature?

03. Building New Characters: Casting on Shakespeare’s Stages Today

Amy Cook (Stony Brook University)

This seminar will ask participants to think about how casting choices shape the stories plays tell us about who we are, about who belongs to what group, and who doesn’t—with particular attention to questions of race, gender, and physical difference. Participants will view scenes and productions of recently-produced Shakespeare plays to develop a common vocabulary and set of reference points. We will then explore together how casting “works” or doesn’t in these selections, addressing what it means to make such a judgment and what the stakes are in doing so.

04. Cervantes’s English Transformations

José A. Pérez Díez (University of Leeds)
Michael M. Wagoner (United States Naval Academy)

This seminar sets out to re-evaluate the pervading influence of the works of Miguel de Cervantes on the intellectual, cultural, and political life of Jacobean and Caroline England. We welcome papers exploring the reception of Cervantes’s fiction among early English readers, examining the work of translators, essayists, poets, and polemicists, and tracing his impact on commercial plays written by dramatists such as Fletcher, Massinger, Beaumont, Field, Middleton, and Shakespeare.

05. Classicizing Race in Early Modern England

Joseph M. Ortiz (University of Texas, El Paso)

This seminar seeks papers that explore the influence of classical texts on emerging notions of race in early modern England. How were gens and barbarus and other classical markers of difference appropriated by early modern writers to create racial distinctions? How were humanist approaches to classical texts re-deployed to racialize contemporary peoples in the Old or New Worlds? How was racism in antiquity detected, amplified, or overlooked by early modern readers?

06. Disney+ Shakespeare

Amy Scott-Douglass (Marymount University)

Disney+ and other streaming services have affected our lives, from the way we teach Shakespeare’s plays to the way we survive quarantine. This seminar is devoted to intersections of streaming, subscriptions, and Shakespeare—including the place of Shakespeare in youth and family entertainment and edification, popular culture and Shakespeare, Shakespeare spinoffs, and Shakespeare in the virtual classroom in the age of Covid. Papers might focus on Shakespeare borrowings or offerings in the Disney+, Netflix, or Prime catalogs; subscription Shakespeare, binging, access, economics; Shakespeare and Gen Z; pandemic-era Shakespeare performances and pedagogies. Papers on any early modern playwright are welcome; not limited to Shakespeare.

07. Divided Shakespeare

Darlene Farabee (University of South Dakota)
Travis D. Williams (University of Rhode Island)

This seminar seeks diverse treatments of “division,” including concepts of separation, fragmentation, rupture, and opposition, in early modern drama: authorship disintegration; textual division; break-up and separation in identities, couples, families, politics, nations, and cultures; unity in division; mathematics, economics, law, rigor and equity. We welcome experimental, exploratory, and emergent work, hoping to emphasize development of ideas and methods over polite commentary on polished writing.

08. Early Modern Affective Ecologies

Piers Brown (Kenyon College)
Allison Deutermann (Baruch College, CUNY)

In the early modern period, the passions were often compared to–and understood as influenced by–the natural world. This seminar asks how work on affect, audience, and ecology can speak to and complement each other. How do we conceptualize the relationship between theatrical atmospheres and the weather? What does an ecological understanding of emotion reveal about how people feel together? How might such questions be reshaped by attention to the early modern anthropocene?

09. Early Modern Architectural Spaces: From Hovels to Palaces

Kaitlyn Culliton (Texas A&M International University)
Ema Vyroubalova (Trinity College Dublin)

This seminar examines the buildings in Shakespeare’s drama, from houses, theatres, churches, and prisons to castles and palaces. We investigate the relationship between the complex architecture implied in the play-texts and its constrained representation in both historical and contemporary stage adaptations. We invite papers that consider various functions of architectural spaces in the plays, both as physical representations on stage and as metaphors within the texts.

10. Early Modern City Comedies

Lilly Berberyan (Northwestern State University of Louisiana)

This seminar invites papers that focus on city comedies and encourages explorations of ideas, concepts, and characters that are under-represented in Shakespearean drama. With a wider range of characters and figures, city comedies capture a unique version of early modern society and culture, granting more nuanced understandings of the period. Various perspectives and methodologies (gender, critical race, queer, materialist, postcolonial, performance, or pedagogical approaches) are encouraged.

11. Early Modern Ecocriticism and Critical Race Studies

Hillary Eklund (Loyola University New Orleans)
Jennifer Park (University of North Carolina, Greensboro)
Debapriya Sarkar (University of Connecticut, Avery Point)
Ayanna Thompson (Arizona State University)

This seminar invites papers on the intersection of early modern ecocriticism and premodern critical race studies. How might studies of early modern literature attend to our presentist concerns? How can research on environmental catastrophes, refugia, or natural resources expand studies of colonization and empire? How might studies of race and gender foster an intersectional ecofeminism? How might we better explore the entanglements of racial, social, and environmental injustice?

12. Early Modern Erogenous Zones

Devin Byker (College of Charleston)
Jennifer Holl (Rhode Island College)

Erogenous: libidinally charged, erotically sensitive. Zone: a field of contact or arousal. This seminar explores erogenous zones in and with early modernity, positioning erogeneity as a mode of sensation, desire, or contact that extends beyond the genital to the human and nonhuman erotic interactions and yearnings that occur through surfaces, spaces, and media. We welcome papers on nongenital bodily erogenous zones as well as erogenous objects, surfaces, texts, and performance spaces.

13. Early Modern Fan Culture

Kavita Mudan Finn (Manchester, NH)
Emily Griffiths Jones (University of South Florida)
Jessica McCall (Delaware Valley University)

This seminar will explore the intersection between early modern literary culture and contemporary transformative fandom. We welcome papers that consider proto-fan culture in the early modern period, twentieth- and twenty-first-century fan transformations of early modern works, and appropriations of early modern texts in intermediate periods that might be seen as fannish (e.g. Romantic and Victorian revivals).

14. Early Modern Theatre Studies and Podcasting

Sheila Coursey (Saint Louis University)
Jess Hamlet (Alvernia University)

How has the podcast changed early modern theatre studies? As a mode of public-facing scholarship, a teaching tool, an alternative space of scholarly discourse, and an aural medium, the podcast serves as a site for conversations about access, performance, pedagogy, and contingent labor, particularly in the Covid era. We invite papers and/or hybrid projects that explore how podcasts are created, consumed, or taught, as well as potential parallels between podcasting and early modern theatre itself.

15. Earworms

Sharon J. Harris (Brigham Young University)
Thomas Ward (United States Naval Academy)

This seminar invites papers that explore early modern earworms, broadly defined as repeating songs or musical fragments, ranging from the catchy and appealing to the persistent and unwelcome. Papers may focus on literary representations of involuntary musical repetition, the viral recirculation of songs and ballads on the early modern stage and elsewhere, cognitive or phenomenological aspects of musical repetition, earworms’ relationship to trauma, or other non-musical kinds of aurivermiculation.

16. EEBO Finds, Failures, and Futures

Jonathan P. Lamb (University of Kansas)

This seminar focuses on the use of Early English Books Online for scholarship and teaching. What scholarly narratives does EEBO permit, constrain, prevent? What questions of access, method, or interface does it raise? What can/can’t we find on EEBO? We’ll showcase how scholars use EEBO, discuss the stakes, and imagine EEBO’s futures. All are welcome: critiques, defenses, research projects, editorial, philological, or computational studies, and beyond! EEBO access not required to participate.

17. Exciting Explorations in Love’s Labor’s Lost

William R. Rampone, Jr. (South Carolina State University)

Love’s Labor’s Lost has been associated with the aesthetics of language and the topicality of historical allusions. Because of the increasing need to see the applicability of Love’s Labor’s Lost and its relevance to the 21st century and its concerns regarding racial, gender, environmental issues, a plethora of theoretical paradigms has emerged to address some of these issues. Consequently, this seminar invites a diversity of theoretical approaches that explore the play’s relationship to ecocriticism, critical race theory, feminism, the denouement’s indeterminacy, recent adaptations and appropriations of the play on stage, film, video, and this play’s interplay with other early modern texts.

18. Explorations of Cultural Trauma from the Early Modern Stage to Today

Devori Kimbro (University of Tennessee, Chattanooga)

This seminar will explore the role of cultural trauma in the legacy of the early modern stage. How did early modern playwrights respond to cultural traumas of the day with their productions; how are modern theatrical companies and directors still drawn to these early modern stories to explore modern cultural trauma, and do such productions result in catharsis or agitation? Participants may explore either original or modern stagings of these texts mounted in response to cultural traumas.

19. Gender and Science

Jennifer Munroe (University of North Carolina, Charlotte)
Mary Trull (St. Olaf College)

This workshop explores the relationship between gender, nature, and knowledge-making in early modern England, interpreting “science” widely to include all theories of natural knowledge as well as practices like experimentalism and household medicine. We invite participants to consider how gender shaped early modern scientific accounts of the world; to disturb the boundaries between science and the literary; to highlight the work of women writers; and to explore intersectional approaches.

20. Hiding in Plain Sight: Archival Discoveries in Early Modern Theater History and Biography

Alan H. Nelson (University of California, Berkeley)

Documentary evidence concerning Early Modern playhouses, playing companies, performances, publications, manuscripts, and theatrical personnel, is increasingly available as access to archives and libraries is enhanced by updated catalogues, digitization, and indexes. This seminar invites papers on entirely new archival discoveries, as well as papers on historical or more recent discoveries which might have received less publicity and recognition. Papers in the latter category should link such discoveries to further advances in scholarly understanding.

21. “I engraft you new”

Paul Edmondson (Shakespeare Birthplace Trust)
Robert Stagg (Shakespeare Institute / University of Oxford)

We seek to engraft Shakespeare’s sonnets anew. Recent work encourages us to think differently about (for example) their sexuality and their order of composition, and we have hopefully left behind tired, eighteenth-century narrative paradigms. What happens when we read the sonnets in the light of global contexts, critical race theory, ecocriticism, and trans sexualities? What was their place and purpose in Shakespeare’s literary and theatrical culture, and in our own, and in social media?

22. (In)Significant Shakespeare

Coen Heijes (University of Groningen)
David Ruiter (University of California, San Diego)

Within a growing effort to connect Shakespeare with broader discourses on today’s challenges, such as the pandemic, racism, sexual abuse, populism, and sustainability, we call on papers by academics, teachers and practitioners that: highlight success stories in achieving positive change; illustrate the difficulties and failures on this road to significance; and/or question the very notion of Significant Shakespeare and argue that this is or is not what we should engage in at all.

23. Invention

Wendy Beth Hyman (Oberlin College)

This seminar invites work on early modern “inventions”—invented languages, instruments, engines, techniques, paradigms, poetic forms, thought processes, worlds—and papers theorizing the nature of invention itself. Is invention “nature’s child,” or the product of ingenious contrivance? What is its proximity to other modes of making or knowing? Papers may range from poetics to natural philosophy, stagecraft to intellectual history, curious gizmos to elaborate schemes.

24. Margaret Cavendish: Gender and Genre

Shawn W. Moore (Florida Southwestern State College)
Vanessa L. Rapatz (Ball State University)

This seminar will investigate Margaret Cavendish’s development and use of varied genres as dialogic philosophical, political, and romantic narratives. We especially welcome papers that take up the intersection of gender and genre including, the social impact of generic conventions, the use of philosophical dialogues as a meta-narrative for world building, and how catalogues of history and time are gendered.

25. Mothering in Early Modern Culture

Elizabeth Steinway (Colorado State University)
Amanda Zoch (Mellon/ACLS)

This seminar invites participants to examine the act of mothering in early modern culture. All genres are welcome, and we are especially interested in queer, monstrous, or marginalized examples of mothering. Participants might consider how mothering is defined; if that definition is stable; mothering’s relationship to reproductive knowledge; how mothering intersects with race, class, gender, or region; Shakespeare’s “bad” mothers; or if one can mother from beyond the grave.

26. Performance during Pandemic: Shakespeare and Covid

Douglas M. Lanier (University of New Hampshire)

Though the Covid pandemic of 2020 and 2021 was devastating for conventional stage productions, practitioners were ingenious in crafting new ways of performing Shakespeare amidst severe restrictions. This seminar will explore Shakespearean performance during the pandemic: what new formats of performance emerged? What economic, sociopolitical, ethical and ideological issues do these formats and particular productions raise? Case studies and accounts by practitioners are especially welcome.

27. “Poison in Jest”: Racist Laughter Across Genres and Nations

Pamela A. Brown (University of Connecticut)
Robert Hornback (Oglethorpe University)

How did racist laughter work to promote and spread race-belief in early modern drama and culture? How did racial humor serve as a discursive practice as part of race formation? How did laughter work to produce whiteness (or sometimes mock it)? We invite multiple approaches to such questions; papers might address jests and insults, but can also treat motifs, roles, and plots in any genre or historical period, in plays by Shakespeare or others. Particularly welcome are critical race theory, transnational, performance theory, and pedagogical approaches.

28. Queering Death

Lauren Shohet (Villanova University)
Christine Varnado (University at Buffalo, SUNY)

This seminar explores death as materially, cosmologically, and aesthetically complicated. What becomes visible through attention to practices, plays, experiences, objects, and belief systems that highlight death’s immanent ambiguities? Possible topics: resurrection, revenants, apparitions, theatrical death, faked death, coma, delirium, abortive reproduction and the unborn, afterlives, remains, morbid eroticism, kinship and inheritance, archival resurrection, failed apocalypse, messianic time, and the lifespans of variously mediated and temporized forms of self.

29. Rendering The Roaring Girl

Justine DeCamillis (University of Maryland)
Catherine Elliott Tisdale (Boston, MA)

Middleton and Dekker’s The Roaring Girl is one of the most written about early modern plays. The resonances between Moll’s character and Shakespeare’s Portia, Rosalind, and Viola invite scholars to consider a history of characters that interrogate identity formation and social representation on the stage. This seminar invites diverse critical approaches that may ask: Are there identifiable patterns between this and other plays? What markers of identity (or lack thereof) elicit such vigorous debate?

30. Rethinking Civility

Emily King (Louisiana State University)

Although civility is cast as a virtuous reprieve from discourtesy, it often suppresses conflict and conceals violence. This seminar explores how civility—that is, civil behaviors, discourse, and expectations for—intersects with early modern structures of race, class, gender, sexuality, disability, nationalism, and indigeneity. On what grounds is civility extended? By what modes is it inculcated or weaponized? To what extent does the Shakespearean world recognize civility’s wounding power?

31. Rethinking the Early Modern Literary Caribbean

Steve Mentz (St. John’s University)

Being in Florida and near the Caribbean can reframe ideas about English identities, race, literary culture, ecological change, and global ventures. Placing the region, which was shaped by encounters among Indigenous, African, and European groups, at the center of analysis, we invite papers on Caribbean connections with Shakespeare and early modern English literature. We welcome approaches that engage critical theorizations of the region’s encounters before, during, and after Shakespeare’s time.

32. Shakespeare and Empathy

Katherine Attié (Towson University)

This seminar welcomes papers about empathy in – or as response to – Shakespeare’s works. How does Shakespeare represent empathy (or a lack thereof) in and between characters on stage? How do characters arouse empathy in an audience? Some possible thematic and critical contexts for a discussion of empathy include justice and mercy, theology and religion, diversity and difference, the non-human, Aristotelian dramatic theory, perception and cognition, affect theory, and reception theory.

33. Shakespeare and France

John Cameron (Saint Mary’s University)

This seminar looks at the relationship between Shakespeare and the French. It prompts participants to explore this from a variety of angles, such as the representation of France and of French characters, the attitudes of the English characters to France, and French sources Shakespeare made use of in his drama, Shakespeare’s reception in France, translations of Shakespeare into French, and important French productions of Shakespeare’s plays. Open to a variety of different perspectives, approaches, and methodologies, this seminar hopes to address the various ways that one could tackle this myriad subject and see where the discussion might go from here.

34. Shakespeare and Health

Roberta Barker (Dalhousie University)
Claire Hansen (James Cook University)
Bríd Phillips (University of Western Australia)

The connection between Shakespeare and health is of longstanding interest within Shakespearean scholarship. This seminar invites renewed consideration of the ways in which Shakespeare and his contemporaries can inform our understandings of health and wellbeing in research, practice, and individual experience. Embracing an inclusive conception of the emergent field of health humanities, we are open to a range of projects connecting Shakespeare Studies and human health.

35. Shakespeare and the Staging of Exile

Stephanie Chamberlain (Southeast Missouri State University)
Vanessa I. Corredera (Andrews University)
James M. Sutton (Florida International University)

Our seminar explores exile—estrangement from one’s homeland—broadly conceived in Shakespeare: the forced immigrant, the banished refugee, the person politically, religiously, or culturally othered. Essays might analyze exile within plays; early modern exilic practices; Shakespeare’s contact with exiles; the author’s proximity to exilic ontologies; stage histories treating exile; studies of exile in performance or film; and how global Shakespearean production today might refigure localized exile.

36. Shakespeare and Wisdom Literature

Sean Keilen (University of California, Santa Cruz)
Julia R. Lupton (University of California, Irvine)

Wisdom literature transmits philosophical, pragmatic, poetic, and theological aspirations through myth and maxim as well as epistle and essay. Egyptian, Buddhist, and Arabic wisdom literature mixed with Greek and Jewish traditions to contribute to a common thought world taken up by both Christianity and Islam. How does friendship model the reception of pagan wisdom in Shakespeare? How do the mixed sources of wisdom transcend confessionalism? What does wisdom offer the humanities today?

37. Shakespeare between Past and Present

Patrick Gray (Durham University)

What is the relation between Shakespeare’s past and our present? How can we best situate Shakespeare and his contemporaries in relation to intellectual history or, as it was once known, the history of ideas? This seminar welcomes case studies in genealogies of influence and analogies between ideas, as well as conceptual reflections on competing methods of historicizing patterns of belief, with reference to literature, theory, politics, philosophy, and/or theology, as well as performance.

38. Shakespeare in Quarto and Folio

Joshua R. Held (Trinity International University)
Paul Werstine (Western University)

In anticipation of the 2023 quadricentennial of Shakespeare’s First Folio, this seminar invites engagement with this highly significant, even fetishized, volume alongside other printed texts, including quartos, later folios, and (not to forget) octavos. How have these texts—and increasingly open methods of access to them—influenced the editing, acting, and teaching of Shakespeare? We welcome diverse approaches, including speculation about the origins and effects of variant texts.

39. Shakespeare in situ

Laurie Johnson (University of Southern Queensland)
Heather Knight (Museum of London Archaeology)
Elizabeth E. Tavares (University of Alabama)

More than three decades since the discovery of the Globe and Rose foundations, the role of archaeological investigation in early modern theatre history, and vice versa, remains underdeveloped. This seminar aims to facilitate conversation about how archaeological discoveries inform study of the early modern theatre, from rethinking the evolution of the playhouses to reimagining the relationship between playhouse design, performance, and playwriting.

40. Shakespeare’s Editors

Claire M. L. Bourne (Pennsylvania State University)
Molly G. Yarn (Athens, GA)

Textual editing is no longer understood to be a neutral practice, as editors are increasingly elevated as agents of textual meaning. We invite papers that explore the lives and labors of those who have edited the works of Shakespeare and his contemporaries from the 16th century to the present. We also welcome papers that consider the theoretical, methodological, and practical implications of reading editions biographically and of producing editions from the position of self-aware subjectivity.

41. Shakespeare’s Madnesses

Leslie C. Dunn (Vassar College)
Avi Mendelson (London, UK)

This seminar explores madness’ interdiscursivity in the drama of Shakespeare and his contemporaries. Some topics: madness vs. mental illness; feigned madness; madness and race, class, gender, sexuality, and disability; supernatural madness: witches, demonic possession, and lycanthropy; pathological madness: melancholy, syphilis, and rabies; Bethlem Hospital (“Bedlam”); phenomena linked to madness: dreams, confusion, error, desire, and ecstasy. Papers on teaching madness in drama are welcome.

42. Shakespeare’s “Other Disability Plays”: Continued

Lindsey Row-Heyveld (Luther College)
Lenora Bellee Jones-Pierce (Centenary College of Louisiana)

Building on the strengths of last year’s seminar, this iteration continues to explore ideologies of dis/ability at work in plays not explicitly “about” disability. We invite participants to consider how dis/ability was shaped by representations of able-bodiedness, including dis/ability motifs and metaphors, disabled poetics, and disabled aesthetics. Possible topics may include: health, beauty, youth, sanity, fertility, wit, strength, skill, productivity, virtuosity, and wholeness.

43. Staging Poetics

Matthew Harrison (West Texas A&M University)
Paul Hecht (Purdue University Northwest)

This seminar invites approaches to poetry and performance, including class, racial, sexual, gendered, and ability-focused dimensions of poetic performance in plays, as well as performances of amateurism or mastery, or considerations of poetic matter and poem as text or poem as spoken word. How does theater change how poems move through literary history? What kinds of spaces does drama open or establish to hear poetry? And what disciplinary spaces can poetry open for scholars of drama?

44. Text in/as Performance

Denise A. Walen (Vassar College)

Evidence of both deletions and additions exist among the early printed versions of Shakespeare’s plays. The scripts are still regularly cut for performance, and some cuts have become almost standard practice. This seminar will investigate the way theatre practitioners have cut and shaped Shakespeare’s scripts for performance, from the sixteenth century through current productions. Papers are welcome on specific productions, the history of cuts for a particular play, or any aspect of the textual choices made by theatre artists for production.

45. The Theatre of Cruelty in Performance

Amanda Di Ponio (Huron University College)

This seminar invites papers exploring performances of early modern drama aligned with Antonin Artaud’s vision for a Theatre of Cruelty, in any variety of theatrical forms. The goal of Theatre of Cruelty productions is to stimulate the audience via the senses, resulting in not necessarily a pleasurable, but momentous response. Participants may wish to investigate intersections between early modern drama and historical and/or contemporary avant-garde movements or other non-realist traditions.

46. Witches in Space

Sarah O’Malley (London, UK)
Meg Pearson (University of West Georgia)

The spatial turn in humanities caused a reconsideration of how physical spaces shape, and are shaped by, the cultures they form part of. This seminar asks how space shaped understandings of early modern witches/witchcraft. Participants might consider: how representations of witches varied in different regions; how the spatialization of witchcraft added to understandings of gender, racial, and sexual identity; how contemporary adaptations of witch-texts draw on and challenge this spatial legacy.

2022 In-Person Workshops

47. The Beginning at the End

Wesley Broulik (Central Connecticut State University / Time’s Fool Company)
Christie Maturo (Central Connecticut State University / Time’s Fool Company)

When one looks at many of Shakespeare’s plays the endings presented in different versions can vary wildly ranging from Folio, to Quarto, to specific choices made by editors. In this workshop we will look closely, through staging on our feet with workshop participants, at the endings of a few selections of Shakespeare’s texts and examine the differences between the choices that have been made. Together we will interrogate how these choices can impact the entirety of a play and what the audience is left with and also why these editors made their choices.

48. Creating a Digital Humanities (DH) Project: A Workshop for All Levels of Experience and
Research Contexts

Kurt Daw (San Francisco State University) Elizabeth Hunter (San Francisco State University)

In the last decade, DH work has grown in sophistication and pervasiveness, and emergent technologies have expanded the possibilities for humanistic inquiry with computers. Despite these changes, practical questions about DH persist. This workshop will facilitate and demystify the process of designing, funding, and building a DH project. Prior to the conference, participants will submit a description of a potential or actual DH project. Conference time will be spent workshopping these projects. Non-coders welcome.

49. Digital Performance Scholarship: Multimedia Critical Editions of Gender and Shakespeare in Asian Theatre

Dympna Callaghan (Syracuse University)
Yong Li Lan (National University of Singapore)

This interactive workshop aims to enable participants to incorporate global theatre performance into their teaching and research. Our objective is to enable a more inclusive research and pedagogy and to create dialog about Anglophone discourses especially about gender in relation to Shakespeare performances in Asia.

50. SAA-SHARP: New Directions in the Study of Early Modern Female Book Ownership

Sarah Lindenbaum (Bloomington, IL) Tara Lyons (Illinois State University) Martine Van Elk (California State University, Long Beach)

What can we extrapolate from the ever-growing evidence of women owning books? This workshop examines strategies for uncovering evidence of female book ownership, from marginalia to wills, portraits, catalogues, bindings, and bookplates. In addition to exploring research materials, participants will consider issues of methodology in assessing evidence of “owned” texts. What new directions in book history can emerge from these discoveries, their accumulation, and their concomitant gaps?

51. Shakespeare and the Anti-Racist Classroom

Ambereen Dadabhoy (Harvey Mudd College) Nedda Mehdizadeh (University of California, Los Angeles)

This workshop answers the urgent call to cultivate an anti-racist pedagogy in our classrooms. Participants will discuss and develop methods of engaging in meaningful, ongoing discussions with students about race (and its intersections) through guided activities that will result in course materials educators can use toward an anti-racist pedagogy. Participants of all career and experience levels are invited to participate, and will leave with revised syllabi, assignments, and teaching strategies.

52. Shakespeare and Women’s Leadership

Natalie Eschenbaum (St. Catherine University)

This workshop is designed for Shakespeare instructors and those who serve in leadership roles at their institutions (e.g., directors, chairs, deans). We will read scenes from Shakespeare alongside some contemporary leadership theory to consider what Shakespeare teaches us about women’s and feminist leadership, in particular. Participants will use Shakespeare’s teachings about women and leadership to develop a lesson plan, a “key results” plan for change, a mission/vision statement, or similar.

53. Shakespeare in the General Education Classroom

Jennifer Black (Boise State University)
Laura Turchi (University of Houston)

This workshop explores the affordances of teaching “general” Shakespeare to a broad range of students with different educational goals, including non-majors and pre-service teachers. We welcome explorations of effective tools and resources, questions about the costs and benefits of making Shakespeare relevant to 21st century life, arguments about the need to “market” Shakespeare to students and administration, and discussions of how Shakespeare relates to the goals of a liberal arts education.

How They Work

Seminar and workshop participation is open only to SAA members in good standing who are college and university faculty, independent scholars, or graduate students at the dissertation stage. If you are a student, your status must be verified by your thesis supervisor. Seminar and workshop leaders, as well as those appearing on panels and roundtables, are ineligible to enroll. If you are found to have violated SAA policies and guidelines, you may also be found ineligible to enroll in an SAA seminar or workshop.

To enroll, you should begin by reviewing the descriptions of seminars and workshops in the June Bulletin.  The online enrollment form requires you to make four selections from the total list, in rank order of preference. If you make fewer choices than four, you will be bumped and your enrollment will be delayed. If you revise your choices, you lose your initial place in the enrollment queue, the date and time of revision serving as the date and time of enrollment. First-choice placements cannot be guaranteed, and spaces are filled on a first-received, first-enrolled basis. You may not take more than one seminar or workshop place, and panel presenters may not enroll for places. The closing deadline for seminar and workshop enrollments is 15 September, after which a no-switch policy obtains.

Placement notifications are issued in early October. You will receive your invitation via e-mail. We have found that formal letters of invitation help SAA members secure conference travel funds from their home universities.

The work of each seminar or workshop is set by its leader(s). By late October you will receive guidelines, directions, and deadlines for work to be completed in advance of the conference.

By mid-February or the deadline assigned by seminar and workshop leaders, you should send your work to other members of your group and receive theirs in return. You should assimilate this work thoroughly so that discussion at the conference can take place at an advanced level. The seminar enrollment cap of sixteen is designed to make this manageable. If you happen to be enrolled in a double-session seminar, you are responsible only for the work of one session. (You are of course welcome to audit the companion session.)

Seminar and workshop leader(s) confirm to the SAA office the names of those who have completed all advance assignments by 15 February. Only with this confirmation are you eligible to be listed in the printed conference program. The schedule of seminars and workshops is announced in the SAA’s January Bulletin. Unfortunately, it is not possible to take into account the scheduling requests of individual seminar and workshop members.

Accepting a place in a seminar or workshop, you agree to produce original work, to engage directly with the topic and scholarly objectives announced by the seminar or workshop leader(s), to attend the seminar or workshop meeting at the annual conference, and to engage with other seminar or workshop members in a professional and respectful way both in advance correspondence and during the meeting.


Purpose: Each seminar and workshop is designed to serve as a forum for fresh research, mutual criticism, and pedagogical experimentation among members with specialized academic interests.

Leader: The work of each seminar or workshop is to be determined and directed by a Leader or Leaders who are responsible to the Shakespeare Association’s Trustees and Executive Director. A Leader who has accepted a place on the program has undertaken a responsibility to attend the Association’s Annual Meeting. If attendance is in question, the Leader should contact the Executive Director immediately.

Enrollment: Membership of the Shakespeare Association of America is required for participation in any SAA seminar or workshop. Enrollment in seminars and workshops is open only to those who are at the dissertation stage of research or who have achieved postdoctoral standing. The Leader(s) of each seminar and workshop may invite up to four participants to join in the work of the group. Remaining places in each seminar are filled through the Association’s open enrollment process. No one may participate in more than one seminar or workshop. No paper presenter may participate also in a seminar or workshop.

Advance Work: As director(s) of the seminar or workshop, Leader(s) determine the extent and nature of work to be done in preparation for these sessions. This may involve common readings, papers (on either a voluntary or an assigned basis), critiques, bibliographies, or any other exercise or project devised by the Leader(s). All written materials used in a session are to be circulated to the full membership of the session and read in advance of the Meeting.

Protocols for Seminar and Workshop Members: Acceptance of a place in a seminar or workshop represents a commitment to complete the work of the seminar or workshop and to attend the Annual Meeting. No member, even if registered in the seminar or workshop, may participate in the session at the Annual Meeting without completing the advance preparation set by the Leader(s). Seminar or workshop members should follow procedures established by their Leader(s), particularly regarding paper length and circulation deadlines. Any seminar or workshop member who has not completed the assigned work by the deadlines specified by the Leader(s) will not be listed as a seminar or workshop member in the Conference Program and may not join in discussion at the meeting. A seminar or workshop member who will not be in attendance should notify the Leader(s) immediately.

Seminar and Workshop Sessions: Seminar and workshop meetings should be devoted to a discussion of major issues raised by work already completed. The sessions are not to involve either reading or summarizing papers. It is assumed that all participants are already familiar with one another’s work by the time the meeting begins. The Leader(s) assume responsibility for the direction and content of the discussion. Workshop sessions may be devoted to exercises organized by the Leader(s) as well as to discussion of major issues.

Auditors: In advance of the Meeting, Seminar Leaders should submit abstracts for seminar papers to the SAA office, for posting on the SAA website. On the day of their session, they should also make available to auditors hard copies of abstracts. At the discretion of the session’s Leader(s), auditors will be permitted to join in the discussion during the final portion of the seminar or workshop.

Academic Integrity: It is assumed that each paper or project submitted to a Shakespeare Association seminar or workshop represents original work that addresses the topic and agenda set out by the Leader(s). Work-in-progress is to be treated with the utmost respect, and members should follow established citation and copyright guidelines in handling the intellectual property of others, including all abstracts, papers, and talks presented at the SAA. No paper should be recirculated in any form or any venue without the author’s permission, and seminar abstracts should be treated in the same way as papers read or circulated. Permission must be obtained before citing unpublished work heard or read at the conference. Also to be observed are the SAA’s Social Media Guidelines for digital distribution, in real time or in retrospect, of the content of panels or seminars.

Professional Behavior: All seminar and workshop members are entitled to be treated with respect and are expected themselves to engage with their fellow enrollees in a respectful manner. This applies to correspondence exchanged in advance of the conference and to participation in the seminar or workshop session. Unprofessional conduct may include disrespectful, dismissive, bullying, patronizing, and harassing behavior.