The King’s Lynn Shakespeare Festival

22nd and 24th April 2021

St George’s Guildhall, King Street, King’s Lynn PE30 1HA

The panel for the festival’s discussion events will include:

To follow (the biographies below are from the previous festival in 2019)

Biographies of the scholars:

Alison Findlay is Professor of Renaissance Drama at Lancaster University and Chair of the British Shakespeare Association. Her books include Illegitimate Power (1994), A Feminist Perspective on Renaissance Drama (1999), Women in Shakespeare (2010). She co-edited Twelfth Night: A Critical Reader (2014) and Shakespeare and Greece (2017), both for Arden. Alison is co-investigator on the AHRC ‘Encyclopedia of Shakespeare’s Language’ project at Lancaster which uses corpus linguistics to explore the Shakespeare’s language at multiple levels – words, phrases, semantic themes, the linguistic profiles of character and plays – and what such words would have meant for early modern spectators and readers. Alison also researches the drama of Shakespeare’s ‘sisters’ or female contemporaries, editing and staging their work. She is a founding director of The Rose Company, which has staged Lady Jane Lumley’s Iphigenia at Aulis (c.1555) and I Have a Speech of Fire, a collage of dialogues from Shakespeare on speech, silence and gender. Alison is co-author of Women and Dramatic Production 1550-1700 (2000) and author of Playing Spaces in Early Women’s Drama (2006). She has recently produced a site specific performance of Lady Mary Wroth’s Love’s Victory (c1617-19) at Penshurst Place and is currently editing the manuscript for publication by Revels Plays.

Richard Dutton is Academy Professor of English (that’s an emeritus position) at The Ohio State University, where he taught for thirteen years, and a now holds a part-time position as Professor of English at Queen’s University, Belfast. Earlier in his career he taught for twenty-nine years at Lancaster University and before that for three years at the Wroxton (Oxfordshire) campus of Fairleigh Dickinson University, New Jersey. He has published widely on early modern drama, especially on Ben Jonson and on issues relating to censorship. His publications include Mastering the Revels: the Regulation and Censorship of English Renaissance Drama (1991), Licensing, Censorship and Authorship in Early Modern England: Buggeswords (2000) and Shakespeare, Court Dramatist (2016). He has edited numerous collections of essays, including four volumes of Companions to Shakespeare’s Works (2003, with Jean Howard) and the Oxford Companion to Early Modern Theatre (2009). He has also edited a number of plays, including Jonson’s Epicene (Revels Plays edition, 2003), Volpone in The Cambridge Edition of the Works of Ben Jonson (2012), and (with Steven Galbraith) Thomas Drue’s The Duchess of Suffolk (2016). His most recent book is a monograph, Shakespeare’s Theatre: A History (Wiley-Blackwell, 2018). He lives in Croston, Lancashire, with his wife, Maura Heaphy, and is currently working on an edition of The Malcontent for the Oxford Marston.

Peter J Smith is Reader in Renaissance Literature, Nottingham Trent University. He is the author of Social Shakespeare: Aspects of Renaissance Dramaturgy and Contemporary Society and Between Two Stools: Scatology and its Representations in English Literature, Chaucer to Swift. He is co-editor of Hamlet: Theory in Practice and Much Ado About Nothing: A Critical Reader. His essays and reviews have appeared in Cahiers Élisabéthains, Critical Survey, Renaissance Quarterly, Shakespeare, Shakespeare Bulletin, Shakespeare Survey, Times Higher Education and Year’s Work in English Studies. He is co-editor-in-chief of Cahiers Élisabéthains and a former trustee of the British Shakespeare Association.

Matthew Woodcock is Professor of Medieval and Renaissance Literature at the University of East Anglia, Norwich. Born in Norfolk, he taught in Oxford, Cork, and London before returning to East Anglia. He has published widely on medieval and early modern literature, and written books on Edmund Spenser’s Faerie Queene, Sir Philip Sidney and the Sidney Circle, and Shakespeare's Henry V. His current interests include early modern soldier-authors and the literature of soldiery. His biography of soldier-poet Thomas Churchyard was published by Oxford University Press in 2016, and his essay collection Early Modern Military Identities, 1560-1639 will appear in 2019. He also has research interests in early modern pageantry, drama and civic entertainment, and edited archival and printed records relating to Queen Elizabeth I’s 1578 progress to East Anglia for the modern edition of John Nichols’s The Progresses and Public Processions of Elizabeth I (published 2014). He is lead investigator on a major AHRC-funded project revising the Records of Early English Drama (REED) volume for early modern Norwich, and his interests in Shakespearean touring companies—and in Shakespeare’s possible connections with King’s Lynn—form part of his ongoing work on East Anglian drama and festivity.

John Drakakis is Emeritus Professor of English Studies at the university of Stirling. He has also held visiting professorships at Wrexham Glyndwr University, where he was awarded an Honorary Fellowship, and at the University of Lincoln. He has published widely in the area of Shakespeare Studies and is the editor of Alternative Shakespeares, the joint editor of Gothic Shakespeares, Macbeth: A critical Reader, and two other books of collected essays, on Shakespearean Tragedy, and Tragedy. He is also the editor of the Arden 3 series The Merchant of Venice, and Q1 Richard III. He has contributed essays, and articles and book reviews to a number of leading literary journals, and he is a member of the editorial boards of Textual Practice, Critical Survey, Sederi, Intercultural Shakespeare and The Anachronist, and he was on the founding editorial board of Shakespeare. He was a founding trustee of the British Shakespeare Association and was chair of its Fellowships sub-committee.  He is an elected member of the English Association, and a member of the Academia Europoeia, and he holds an honorary D.Litt. from the University of Clermont-Auvergne. He is currently the general editor of the Routledge New Critical Idiom Series, and is the general editor and contributing editor in charge of the revision of Geofrey Bullough’s Narrative and Dramatic Sources of Shakespeare.