More April Events: Jane Shore – Sholem Aleichem Fest – Alex Alice Joubin @ the Folger
The last weeks of April are busy ones on campus. Here are three upcoming events of interest.
Come out to hear our own Jane Shore on April 19 at 7:30 p.m. in Phillips B156. Prof. Shore will be reading from That Said, New and Selected Poems (Houghton Mifflin Harcourt), in an event sponsored by the Jenny McKean Moore Endowment.
As readers of this blog know, Prof. Shore is a prolific and highly decorated poet, as well as a dedicated teacher of GW poetry students. Her first book of poems, Eye Level, won the 1977 Juniper Prize. Her second book, The Minute Hand, won the 1986 Lamont Poetry Prize, awarded by the Academy of American Poets. Music Minus One was a 1996 National Book Critics Circle Award Finalist. Happy Family was published by Picador USA in 1999.
Her previous book of poems, A Yes-Or-No Answer, was published in 2008 by Houghton Mifflin Harcourt and was awarded The Poets Prize. Her have been published in numerous anthologies and magazines including the Norton Anthology, The New Yorker, The Yale Review, Slate and Ploughshares.
Alexa Alice Joubin, currently a Short-Term Fellow at the Folger Shakespeare Library, will be giving a presentation titled “Reorienting Global Shakespeare: Touring Productions to England, 1955-2011” at noon on Wednesday, April 25. Her talk will take place in the Board Room of the Library (201 E. Capitol St SE). All are welcome.
Can Shakespeare’s plays give a “local habitation” to the “airy nothing” of globalization? Shakespeare is proclaimed, once again, the bearer of universal currency and Britain’s national poet as the 2012 London Olympics draw nearer. Much more ambitious than the Royal Shakespeare Company’s 2006 “Complete Works” Festival, the World Shakespeare Festival in summer 2012, an integral part of the Cultural Olympiad to celebrate the Olympics, will bring theatre companies from different parts of the world to perform Shakespeare in their own languages.
Drawing on the Folger’s rich collections, her presentation traces the trajectories of touring Shakespeare from 1955 to 2011. Both homegrown and touring companies have staged Shakespearean performances in England, and the twenty-first century has ushered in what might be called a “post-national” age of intercultural theatre–an age populated by works that are defined by theatrical, cultural locations rather than geo-political boundaries.
