*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 [log in to unmask]