In the lead-up to Radical Mischief (20-21 July 2018) the TOP blog is hosting responses to the conference's 9 provocations. Tobi Kyeremateng is a theatre, festival and live performance producer based in SW London, specialising in artist development, artistic collaboration and community engagement.
In the lead-up to Radical Mischief (20-21 July 2018) the TOP blog is hosting responses to the conference's nine provocations. Corinne Furness is an AHRC funded doctoral researcher with the University of Birmingham and the Royal Shakespeare Company.
This ambitious joint venture between the University of Birmingham and the RSC will debate what thought and theatre can do in our time.
Recent changes to the Shakespeare New Place house model have been spearheaded by period interpreter Phil Watson, the designer of the new vinyl adhesives that have been added.
The awards were instituted by Birmingham's Guild of Students to give students an opportunity to nominate "a truly inspiring teacher who can bring a subject to life".
The fellowship recognizes her contributions to distance learning at the Shakespeare Institute and to her commitment to student-focused pedagogy in both the traditional, on-site classroom and the online one.
In the lead-up to Radical Mischief (20-21 July 2018) the TOP blog is hosting responses to the conference's nine provocations. Madeline Sayet is a director of classics, new plays, and opera.
In the lead-up to Radical Mischief (20-21 July 2018) the TOP blog is hosting responses to the conference's nine provocations. Professor Wilson is the Sir Peter Hall Professor of Shakespeare Studies at Kingston University, London.
Video of seminar given by Professor Michael Dobson of the Shakespeare Institute, at The Other Place, Stratford upon Avon.
Shakespearean actor Simon Russell Beale, Honorary Senior Research Fellow of the Shakespeare Institute, gave a wide-ranging public interview to the Institute's Dr Abigail Rokison-Woodall.
Every June, members of The Shakespeare Institute read aloud, in chronological order, the complete dramatic canon of a sixteenth- or early seventeenth-century playwright. The exercise enables us to observe, in concentrated form, the development of a single dramatist's imagination and technique, and to experience a large number of neglected plays by a significant talent of the Shakespearian era.
Tara Hamling and Cathryn Enis explain their research into how Shakespeare memorabilia has and hasn't changed over the years and how we use souvenirs in our homes.