*NAME: Naoki Sakaino
*INSTITUTION: Iwate University
*DEPARTMENT: Faculty of Education
*TITLE: Associate Professor
*EMAIL: [log in to unmask]
*PHONE: (Japan) 0196-23-5171 ext.2461
*ADDRESS: Ueda, Morioka
*POSTAL CODE: 020
*COUNTRY: JAPAN
*PROFESSIONAL ASSOCIATIONS: The English Literary Society of Japan,
The Sakespeare Society of Japan
*BIOGRAPHICAL SKETCH (ca. 100-500 words)
I got MA of literature at Tohoku Gakuin University, Sendai, Japan,
the title of the thesis is, "A Study of Romantic Structure of
Sidney's Old Arcadia".
My current interest is on the historical shift of the taste on
the early modern English theatre, including appropriation of
Shakespeare. Some of my recent publications are, "On Appropriation",
("SHAKESPEARE NEWS", vol. xxxiii, no.1, 1993 *in Japanese)), and
"Measure for Measure and Restoration", (The Annual Report of the
Faculty of Education Iwate University, vol. 54, no.1, 1994.(in
Japanese) I'm now preparing for the paper on the idea of bodies on
the Renaissance theatre.
======================================
I'm Michael Swanson, associate professor of English, speech, and
theatre and director of theatre at Franklin College. Not only do I
teach early English drama regularly in dramatic lit and theatre
history courses, but I've performed in a number of the plays. As an
undergrad I played God in "Everyman" and the second shepherd in
"Second Shepherd's Play (took a while for me to understand that I
wasn't the title character...). As a grad student at Ohio State, I
played Mercy in what I think was quite a good production of "Mankind,"
directed by a fellow PhD student. The late Stanley Kahrl, who was
medieval drama specialist at OSU, saw the production, liked it, and
invited me to take his summer course in medieval English drama, which
I did, and I loved. Following that course, my friend and I both
performed in Stanley's production of "The Trial of Joseph and Mary"
from the N-Town cycle, which was one of the plays performed in that
cycle at UToronto in May 1988. I presented my research project in
Stanley's class, on touring Elizabethan acting troupes and why they
were often noted (in REED records) as having been "paid not to play,"
at Westren Michigan U's International Medieval Institute Conference in
1989.
I'm continually fascinated by these plays, and hope to direct one of
the contemporary cycle adaptations at my small college theatre or
elsewhere someday. I also hope to reenter the world of REED research
at some point.
I heard about REED-L through the Association for Theatre in Higher
Education (ATHE) News: it was listed in a list of theatre-related
lists.
Michael Swanson
[log in to unmask]
=========================================================
I am a graduate student in an inter-disciplinary liberal studies
program at Rutgers. This semester, I am enrolled in a seminar on
Elizabethan and Jacobean Drama. The focus of my research is Kyd's
Spanish Tragedy. I am particularly intersested in psychological
studies of the play, such as Freudian (father/son) and Jungian
(mythological).
I learned of REED-L from a local search for scholarly lists and
journals. I can't remember the service that posted it, I'm afraid.
Thank you for your consideration.
Dennis McGrath
[log in to unmask]
=============================================
I am a graduate student at UCBerkeley, currently pursuing a doctorate
in English Literature. My dissertation topic examines the relationship
between educational theory and reading/composing texts in sixteenth-
century Europe, although I am frequently (too frequently!) distracted
by gendered readings of English drama from the same period. I hope to
spend my time on REED-L exploring the connection between these
interests, and am particularly interested in the educational uses of
ceremony in the early modern period.
I heard about REED-L through the listserv listing located at the UPenn
Gopher.
Deborah L. Reed
________________________
[log in to unmask]
==================================================
I am working on my Ph.D. (Medieval English) at the State University of
New York-Binghamton. This semester is the first that I have worked
with drama, and I have read several articles concerning the REED
Project. I thought that the discussion list would be the best way to
see what the "current" issues concerning REED are.
I got the address by downloading a file from somewhere off the 'net
called "The Medievalist's e-mail Address Book" complied by Robert
Duncan.
Rhonda Knight
[log in to unmask]
================================================
In response to your request, I am a PhD candidate at the Graduate
Centre for Study of Drama, University of Toronto, which should also
explain how I know of REED's existence. This year and for the
forseeable future, I am working off-campus, in New York City, for
financial reasons.
My thesis, entitled "Peter Barnes and the Nature of Authority," is
being supervised by Prof. Alexander Leggatt. Although the primary
focus of the thesis is the still-living English playwright, because
Barnes is so connected to the Elizabethans and Jacobeans not only
dramaturgically but in his fascination with power structure, I call
upon the drama and philosophy of those years as well. From time to
time I look at still earlier English theatre. For example, in one play
Barnes has a character costumed for his role in "Everyman in Hell,"
and I would like to ask the members of REED whether there is in fact
any evidence of this "sequel" to the extant version(s) of "Everyman."
I was hoping to do so through the REED-L.
I do not myself conduct original research into primary source material
of pre-1642 Britain and so do not expect to be a frequent contributor
to the list. I do, however, have an interest in the topic and, as I've
indicated, specific questions on occasion.
Liorah Golomb
[log in to unmask] or [log in to unmask]
=========================================
My name is Steve Wright. I am Chair of the English Department at
Catholic University (Washington, DC) where I teach graduate and
undergraduate courses for various departments: English, Comparative
Literature, Medieval Studies, and the Honors Program. I give several
courses which might be of interest to others on this list: Medieval
English Drama, Medieval Drama in Europe (Latin, German, French), and a
seminar called Civic Ceremony in Medieval York.
After finishing my B.A. at TCU, I did graduate work in medieval Latin
and German at Freiburg, then took a B.Phil. in Medieval Studies at York.
I finished my Ph.D. in Comparative Literature at Indiana University in
1984.
I am Co-General Editor (with Martin Stevens) of a series called
Early European Drama in Translation. Current research activities include
finishing my own translations of the Innsbruck and Erlau Playbooks for
EEDT, working on an article on the civic setting of early German religious
drama, and compiling material for a book on the interplay of text, image,
and performance in medieval France and Germany.
I look forward to meeting fellow REED-L subscribers at Kalamazoo
next May, unless I finally get that long-awaited phone call from the
Orioles calling me up to play second base on Opening Day at Camden
Yards.
Steve Wright
[log in to unmask]
==============================================
Your message asks me about myself, since I just signed up for the
network. I actually used to be signed up when I taught at the
Universite de Geneve, and am re-registering where I now teach: the
American Univ. of Paris (depts. of Comp Lit & History), and the
Institut d'Etude Politique de Paris (more conveniently known as
"Sciences Po"; enseignement d'ouverture). I work principally on
Shakespeare and contemporaries, and am researching trial scenes in
Elizabethan plays. Incidentally, I was in your medieval Latin class
way back in the summer of 1980 when I was a grad student at Massey :-)
Ray Lurie
[log in to unmask]
========================================
I teach an English Literature survey course, from Beowulf to Rape of
the Lock, and am exploring mailing lists on the Internet that are
related to the works I teach. I'm about to start teaching some
morality and mystery plays and will eventually be teaching
Shakespeare. I'm particularly interested in gaining access to
archives of discussions about Everyman and The Wakefield Second
Shepherds' Play. I've seen references to REED-L in various works,
including Kovacs' list of scholarly discussion groups. I'm an
Associate Prof. of English at Lock Haven University in Lock Haven,
Pennsylvania.
Yours, Richard Parker
<[log in to unmask]>
===================================
I am an assistant prof. in English, teaching Shakespeare, ren. lit.
and drama. A grad. student sgined me up with you. I am increasingly
working performance into my lit. classrooms, and am doing research in
the area of eliz. and jacobean drama, esp. Jonson and Middleton at the
moment: my topic is domestic space on the stage. I have no editor
here (on the net), so my typos glare. Sorry.
Ann Christensen
<[log in to unmask]>
====================================================
'In comes I, Loren Washburn, a woman of diverse interests and
talents.'
Several decades ago I was a theater major at Cal State Northridge with
a passion for folklore on the side.
Until recently my main outlet for these passions has been
participation in the Renaissance Faires here in California. If you're
not familiar with that, we go to great effort to recreate the feel of
Elizabethan time including costume requirements for historic accuracy
and workshops in language and culture of the time.
For the last fourteen years .I have had a booth there where I sell the
prints I make: Woodcuts of the Faire on paper and Celtic knotwork on
cloth. (The Celtic philosophy of functional art, you know.)
On to relevant items. I have loved Morris Dance at the faires for many
years and last year joined a team: Seabright Morris and Sword in Santa
Cruz.
This winter a subgroup of us did some winter singing and a mummers
play. We are currently working on another variation.
Oh joy, folk theater, and MY cultural roots too! So now I'm digging up
library books, (sparse so far) and emailing to a Minnesota friend who
is very into the art. I heard about the list from the Morris Dance
Discussion List FAQ.
Loren Washburn,
( Currently working in Computer Resources at Cabrillo College in
Aptos California.)
----------------------------------------------------------
Loren Washburn
[log in to unmask]
----------------------------------------------------------
=================================
Thank you for your prompt reply. I heard about the list as a Master's
student at the Universtity of Connecticut. I graduated in December
and will be in the Ph.D program at the Universtiy of Kansas in Fall.
Until then, I am researching various Medieval subjects. Of special
interest to me the the depiction of the devil in Medieval dramas. I
present a paper on this topic last year and am continuing research in
this area.
As far as a "CV" or bio goes, I can fax it; but in the mean time, I
hold a BA in English Literature from the Universtiy of Missouri-Kansas
City (1993) and a Master's in Medieval Studies from the Universtiy of
Connecticut (1994).
I present a paper on the depiction of Satan and Hell scences in the
Chester cycle in April 1994. Most recently, I presented a paper at
the conference hosted by the Arizona State Universitiy in Febuary
1994. The topic there was the carnality of women and the Malleus
Mallificarum.
I am an academic, not a "public lurker" on the list.
Anita G. Lundy
[log in to unmask]
=============================================
Thank you for your quick response. I heard about the group from Garth
Clayton, who had requested information on a Chaucer discussion group
and others and was referred to this one by its members or directors.
I am originally from Charleston, S.C., (and have lived in Tampa,
Atlanta, and Savannah) but am currently working on my M.A. at the
University of Alabama, with a concentration in British Renaissance
studies. I plan to continue to a ph.d program within the next 1.5
years. I've been interested in English drama for quite some time, but
in the past 6 months have become intrigued by a play entitled The
Pleasant Commodye of Patient Grissel, by John Phillips. The play is
obviously a redaction of the Griselda legend; its terminuses are 1564
(I think) and 1599. Ballads extracted from this play have been
preserved in other 16th century sources as well. I'm interested in
this play, among other reasons, for its relation to Elizabethan
politics. Frankly, I'm having a tough time finding much criticism on
the play, as it was rediscovered in 1909. Another interest closely
related to the one described above, and more popular among
contemporary scholars, is the Dekker, Chettle, and Haughton version of
the Griselda/Tamer stories.
This fall I'll be taking a Topics in Shakespeare course with Gary
Taylor; this course extends beyond the Shakespeare canon in that we'll
be pairing his works with those by his contemporaries. The dramatic
material should yield interesting discussion possibilities for the
net!
Lisa Broome <[log in to unmask]>
======================================================
One of my colleagues told me about the REED listserv when he read it
on a Chaucer serv. I began my career as a medievalist, although in
recent years I have specialized in folklore, particularly the folklife
of ranching. But I still teach a medieval drama course here regularly,
and I still read an occasional paper on the topic. My dissertation,
25 years ago, was an edited and translated collection of civic records
relating to drama in medieval York.
James Hoy <[log in to unmask]>
==========================================
I am a graduate student (ABD) at USC writing a dissertation on
witchcraft in early modern literature (with an emphasis) in drama. In
particular, I focus on Cleopatra, Joan of Arc and Lady Macbeth and
various dramatic representations of these characters.
Holly H. Hymes <[log in to unmask]>
=============================================
I am largely interested in REED for the context within which
Shakespeare (and his colleagues?) produced his plays. I attach the
biog I wrote for the Shaksper list. I would add that I pretty much
function as an informal dramaturg to Bartlett Sher in addition to the
music and sound design.
Peter John Still,
practising theatre composer and sound designer
BA Hons (first class) in music, Oxford University
MA in American Studies, University of Sussex
I am an Oxford-educated theatre composer and sound designer, based in
Minneapolis, working every summer at the Idaho Shakespeare Festival,
and regularly with Hartford-based, ex-Guthrie, Shakespeare director,
Bartlett Sher (Twelfth Night - THe Acting Company; Pericles - Guthrie
Lab)...
I am new to the inet, and desperately seeking the informed discourse
that seems to have disappeared from the print media, especially in
this country.
My reference points, for better or for worse: Kott, McLuhan, Laroque,
Barthes, Foucault ('Les mots et les choses'), Baudrillard - Brook,
LePage, the Trevor Nunn RSC, Ninagawa...
Peter John Still <[log in to unmask]>
=================================================
Thank you for your message about my interest in REED-L. I heard about
the list from a posting on FICINO, to which I also subscribe, which
gave details of a number of lists.
I am at present Lecturer in English Literature in the Department of
English at Waseda University, Tokyo. I teach courses in Renaissance
Poetry, English and American Poetry, and Literature and Colonialism. I
studied at University College London and at Oxford, where I took a
D.Phil., my thesis being on "George Herbert and Sacred Parody."
Besides continuing with my interests in 16th and 17th century poetry,
I have recently been looking into the depiction of early, pre-Roman
Britain in literature, including drama (e.g. _Gorboduc_, _Leir_,
Fletcher's _Bonduca_).
Anthony Martin
[log in to unmask]
===========================================
I am an unemployed Shakespearean and would like to join the list
through my partner's internet access. I finished my Ph.D. at the
University of Toronto in 1993, working first with Sheldon Zitner and,
when he retired, with John Astington. My dissertation was concerned
with varieties of parody in Shakespearean drama, mainly _Troilus and
Cressida_. I have been interested in REED for many years and was very
excited to see a list devoted to it. I am currently interested in how
architectural space is staged in Renaissance and Jacobean drama. Thank
you, Gail Noble (but I think in my mail I must be addressed as "Ian
Ainsworth" -- [log in to unmask] (ian ainsworth)!)
====================================================
I am a graduate student at the University of Chicago completing a
dissertation on twelfth-century liturgical drama. My interest in
early drama naturally extends to plays in English as well as the
corpus of Latin plays from English churches and monasteries.
John Marlin
<[log in to unmask]>
===========================================
I make theater in New York City. My particular obsession is
Shakespeare. In April 1994 I did _The Complete Text of Macbeth: A Solo
Performance_ at the Access Theater.
More recently I have been involved with Elevator Repair Service, "the
best young performance group in town" (Village Voice).
I have an AB in English and American Literature from Brown University,
where I directed _Hamlet (with light refreshments)_ and _The Merry
Wives of Windsor_.
I found out about REED-L by being on SHAKSPER.
[log in to unmask] (Scott Shepherd)
=====================================
I found your list on a list of lists which was forwarded to me from
one of my collegues. I am in my final quarter of course work toward
my Ph.D. in Drama at the University of Washington (Seattle) and hold a
B.F.A. in acting and an M.A. in theatre. Before coming here to the
School of Drama, I taught dramatic literature and theatre history
(part-time) at California State U., Northridge. Although my
dissertation is not aimed specifically at your topic, it is one of my
most fervent interests. I have published "Popular Culture and the
Visual Messages of the Lord Mayor's Procession" in _The Cultures of
Celebrations_, (Ray B. Browne and Michael T. Marsden, eds., Bowling
Green: Bowling Green U Popular P, 1994) 75-92. This was a simple
semiotic analysis of the visual aspects of the Lord Mayor's shows and
processions from 1575 to the interregnum. Though it was published
only last year, it was written early in my M.A. program, so I am
hopeful that my writing style and research methodology have attained a
higher level of sophistication (though it could be that I'm simply
fooling myself). I am very interested in Elizabethan civic pageantry
and am trying to work a chapter about medieval theatre practice into
my dissertation. I am a member of ASTR and last November in New York
was a participant in Seminar 2 (Intercultural Theatre) with the essay
"Constructive Ambivalence in Intercultural Performance: Aeschylus's
_The Persians_."
I am also an actor and director (member Actors Equity, Screen Actors
Guild, and AFTRA). Most of my directing experience is at Shakespeare
festivals, with a concentration (so far) on Commedia and its uses
(abuses?).
Therefore, I am interested both in scholarly research as a discipline
and the possibilities of its practical application.
Terry Donovan Smith
School of Drama, DX-20
University of Washington
Seattle, WA 98195
(206)543-5140
[log in to unmask]
==================================================
I am currently a second year Ph.D. student in the English and
Comparative Literature Department at Columbia University. I have
worked in the professional theater (i.e., Broadway, off-Broadway) as a
Company Manager for the past 10 years. When I started my medieval
studies, the study of medieval performance came quite naturally.
Currently, I am working on Hrotsvitha, but as the co-chair of the
Sixth Annual Columbia Medieval Guild Conference, PERFORMANCE, RITUAL &
SPECTACLE IN THE MIDDLE AGES, I am scheduled to direct a production
of The Digby KILLING OF THE CHILDREN for the conference. If it hasn't
appeared already, I would like to post a call for papers to the Reed-L
list on behalf of the conference.
I look forward to joining this list, which I heard about through the
internet from someone in London who's name escapes me.
Julie Crosby
[log in to unmask]
===================================
I'm a Ph.D. student in English Renaissance literature at SUNY at
Buffalo with a minor in Poetics and a performing arts background (new
music and performance). I'm interested in the origins of English drama
and in the performative aspects of Elizabethan/Jacobean plays. I heard
about this list through a fellow student, who posted a list of lists
on our graduate students' e-mail forum. Hope this will be of
assistance to you.
Charlotte [log in to unmask] at Buffalo
=============================================
I am a senior lecturer in English Renaissance drama at the English
Department of Utrecht University, the Netherlands. Most of my
publications to date concern early-modern drama, be it English, Dutch
or French. Have published *Images of Englishmen and Foreigners in the
Drama of Shakespeare and his Contemporaries* (Fairleigh Dickinson UP,
1992). Also, I have edited *Reclamations of Shakespeare*
(Amsterdam/Atlanta, Ga., 1994), and co-edited *Shakespeare's Italy*
(Manchester UP, 1993). I have founded the Shakespeare Society of the
Low Countries, which I currently chair. I also edit the Dutch
Shakespeare bulletin *Folio*. I found the reference to Reed-L while
browsing through Internet.
Dr. Ton Hoenselaars <[log in to unmask]>
=====================================================
I am presently completing an MLS while concurrently working on a PHd
in medieval history. One of the reasons I am interested in REED-L is
for information on the suitability of inclusion of the listserv on an
updated ERIC Infoguide for instructors. This is not the only reason I
would like to join REED-L, however. As a medievalist, I am interested
in all aspects of the time period. I know about REED-L because I spent
two years in Toronto at the Centre for Medieval Studies.
Thank you for your consideration,
Janice K. Pfaff
[log in to unmask]
============================================
In 1947, students under my direction acted in a two-character one-act
production during a festival sponsored by the University of North
Carolina Playmakers, in Chapel Hill. That production, begun as an
extracurricular lark, earned surprising recognition and initiated not
only the actors but also their director into serious theatre. I
thereby discovered the educational potential in producing one-act
plays over the next forty-eight years.
Educated in the graduate program in theatre of the Carolina
Playmakers, University of North Carolina/Chapel Hill, I have taught
drama and directed plays in North Carolina, Montana, and California;
in Germany and Mexico; and in high schools, community colleges,
universities, and community theatres. I have a bachelor of arts degree
in English at UNC, a master's degree in library and information
science at San Jose State University, and a doctorate in speech and
drama at Stanford University to extend my library and theatre skills.
In the 1980s, to help directors needing small-cast one-act plays for
production, I developed a card index of over two thousand citations.
Those original citations have been greatly amplified and appear in my
new book 1/2/3/4 FOR THE SHOW: A GUIDE TO SMALL-CAST ONE-ACT PLAYS
(Scarecrow Press, May, 1995, ISBN 0-8108-2965-1). The specialized
collection of theatre materials within the general holdings of the
library of North Salinas High School, Salinas, California, has
increased since I became librarian there in 1985. My personal
collection of several hundred theatre books, with an emphasis on
small-cast one-act plays, now belongs to the North Salinas High School
library. This special collection exceeds four thousand items in 1995.
The public may access this collection upon request.
As your purpose is "to provide a forum for discussion and interchange
of information relating to drama, music, and ceremony in the British
Isles before 1642," I see a common interest. Probably, the Records of
Early English Drama Project, in its gathering, editing, and publishing
primary source material for the history of British drama, music, and
ceremony in this period can assist my continuing search for small-cast
(four or fewer roles, with possible extras) one-act scripts. I am
compiling the second edition of 1/2/3/4 FOR THE SHOW and wish to
include citations and script sources of appropriate plays dated before
1642.
I received from <[log in to unmask]> "A Brief Guide to Internet
Resources in Theatre and Performance Studies." It lists your group.
Lewis W. Heniford
[log in to unmask]
=========================================
I heard about your list after requesting a complete catalogue of lists
from the Listserv server. I ran a search string looking for any list
with the word Theatre in it and your list name came up.
I am interested in theatre and drama but more in the background
fields. I am hoping to study theatre design and stage management for
two - three years starting this September in the UK. My interest in
your list is academic in that I want, if possible, to be able to gain
information in theatre designs through the various ages. From all
appearances this list could be an excellent source and also a point to
which I can play around with ideas and get some advice from those who
know a lot more from me.
Martin Wulff
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