February 26-27, 2016
Marines’ Memorial Theatre, San Francisco
Miguel de Cervantes (1547–1616) and William Shakespeare (1564 –1616), two of Western civilization’s greatest writers, helped to define modern forms of literature, while enriching the power and expressiveness of their respective languages. They lived amid the tumultuous interconnected histories of the Spanish Golden Age and the Golden Ages of Jacobean and Elizabethan England. On the 400th anniversary of their deaths, we celebrate the enduring themes and vivid characters in the timeless stories they created.Their respective literary contributions have become deeply embedded in world culture and remain influential to this day.
Friday, February 26, 2016 7:30-9:30 pm
The Renaissance World of Cervantes and Shakespeare / Roland Greene (Stanford). If one were born into the Spain and England of 1547 and 1564, as Miguel de Cervantes and William Shakespeare respectively were, what events in history, intellectual life, and literature would have mattered in the making of one’s early work as a writer? Roland Greene explores the common elements in the world-views of these two European contemporaries who came to define the literature of their time. Both of them lived under absolutist monarchs, observed changing intellectual paradigms, pondered the challenges of the Americas, and explored several available literary genres as ways of capturing a complex reality. At the same time, their differences—in religion and national perspective, among other things—are important too. Weighing likenesses and differences, we will approach an understanding of these two figures in relation to each other and to the world they had in common.
Performance: Crosscurrent: Renaissance Music from England and Spain / Shira Kammen directs Gallimaufry, the new chamber chorus, performing music from the time of Cervantes and Shakespeare, including settings of their texts. With Peter Maund (percussion) and Michelle Levy (vielle)
GALLIMAUFRY chamber chorus: Shira Kammen. director, bowed strings; Michelle Levy, bowed strings; Peter Maund, percussion; Singers: Dorothy Manly, Beth Summers, Marcia Hofer, Dave Watt, Lynn Haug, Chelle Cockle-Persoff, Victoria Varieur, Theresa Nelson, Greg Tinfow, Susan Moreno, Patti Cobb, Michelle Levy, Prentiss Williams, Max Ziff, Stephen Pitcher, Scott Robinson, Melissa Leverton, Alice Benedict, Sarah Lamb, Sarah Rose Cohen, Larry Schmehl, Melanie Spiller, Asher Davison, Lisa Gartland
Where Griping Grief (from Romeo & Juliet) Richard Edwards (1524-1566)
John Come Kiss me Now (instrumental) John Playford (1623–1686/7)
Jog On (from A Winter’s Tale) Anonymous
Oy Comamos y Bebamos Juan del Enzina (1468 – 1529)
Recercada (instrumental) Diego Ortiz (c. 1510 – c. 1570)
Caballero de aventuras Anonymous
Rodrigo Martinez Anonymous
Full Fathom Five (from The Tempest) Robert Johnson (c. 1583 – 1633)
Willow Song (from Othello) Anon., from the Roxburgh Book of Ballads
Give me my Yellow Hose (referred to in Twelfth Night) Anon.
Farewell Dear Love (from Twelfth Night) Robert Johnson
Calata ala Spagnola (instrumental) Joan Ambrosio Dalza (fl. 1508)
Amor con Fortuna Juan del Enzina
When that I was and a little tiny boy (from Twelfth Night) Anon.
Saturday February 27, 2016, 10:00 am – 4:00 pm
Why Everyone Should Read Don Quixote / Adrienne Martín (Harvard). Although most people are familiar with Don Quixote through cartoons, films, ballet, television, or the musical Man of La Mancha, fewer have actually read the eponymous novel. Nonetheless, Don Quixote is recognized by most contemporary writers as the first modern novel and the best one ever written. What makes it so and why should everyone read it? Cervantes’s masterwork is the first self-conscious book about books, about reading and writing and the relation between reading and living, and about how life can imitate art. Ultimately about the joys—and the dangers—of reading, Cervantes takes readers on a philosophically profound, yet extremely funny road trip punctuated by adventure, mad lovers, forceful women and odious nobles. Highlighting themes such as the nature of reality and illusion, heroism, adventure, male bonding, freedom, racial tolerance and love, Don Quixote is as relevant today as it was in 1605.
Shakespeare’s Stage / Shakespeare’s Works / Stephen Orgel (Stanford). Shakespeare’s drama occupies a central place in the modern imagination, as a touchstone not merely for theater but for literature itself. The Collected Plays have been, for almost three centuries, the most canonical work in English, rivalling even the King James Bible. Paradoxically, Shakespeare wrote for performance, not for publication. His plays were scripts for a particular troupe of actors, the Lord Chamberlain’s Men, later called the King’s Men, whose colleague he was for two decades. Shakespeare’s plays are deeply imbued with the conditions of his theater. What was that theater like, what was involved in writing for such a company, and—most important for our modern sense of Shakespeare—what happened when the scripts became books and the stage became literature?
Cardenio and its Spanish Connection / Barbara Fuchs (UCLA). The lost Shakespeare/Fletcher Cardenio serves as the absent marker for a literary phenomenon that we have largely ignored: the strong English fascination with Spanish literature even during the periods of greatest animosity between the two nations. By reconstructing the context for the missing Cardenio we can recover the powerful intellectual and literary connections that thrived despite Protestant suspicion and imperial rivalry.
Performance: Shakespeare’s Cardenio? / Bruce Avery and Lana Palmer
Bruce Avery and Lana Palmer entertain with scenes from Double Falshood, thought to be the mis-titled Cardenio.
The Baroque World of Cervantes and Shakespeare / Roland Greene. The European and transatlantic world saw a considerable number of changes after 1600: in politics and society, in technology, in the arts, and in the general state of knowledge, as a generation of thinkers came to realize that they knew more about the world than the classical authorities to whom they had been conditioned to look for guidance. We sometimes call this era of change the Baroque, and while it includes the entire careers of a number of important figures across the disciplines, this lecture will ask what it meant for these two writers, Cervantes and Shakespeare, whose world-views were established in the preceding era, known as the Golden Age in Spain and the Elizabethan age in England. How does a playwright, novelist, or poet adapt to the Baroque in late career? How does an understanding of the seventeenth-century Baroque contribute to our understanding of the late Cervantes and Shakespeare?
Panel Discussion with the Presenters
Conclusion 4 pm
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Presenters & Resources
Bruce Avery is Professor of Theater Arts at San Francisco State University. He holds a PhD in English Literature and Classics from UC Santa Cruz. He has written on Spenser, Joyce, Kipling, Salman Rushdie, Christopher Marlowe, Shakespeare, and pedagogy. He is an actor and director, and has played Vladimir in Waiting for Godot, Polonius in Hamlet, Peter Quince in A Midsummer Night’s Dream, and Old Capulet in Romeo & Juliet, among others. His directing credits include Venus in Fur, A Midsummer Night’s Dream, As You Like It, and Woody Allen’s God, among others, and he directs Much Ado About Nothing in 2015.
Barbara Fuchs (PhD, Stanford) is Professor of Spanish and English at UCLA, where she also directs the Center for 17th-and 18th- Century Studies and the Clark Memorial Library. A comparatist by training, she specializes in literature and empire in the early modern period. Her books include Mimesis and Empire: The New World, Islam, and the Construction of European Identities (2001), Passing for Spain: Cervantes and the Fictions of Identity (2003), Romance (2004), Exotic Nation: Maurophilia and the Construction of Early Modern Spain (2009) and, most recently, The Poetics of Piracy: Emulating Spain in English Literature (2013). She has also published translations of Cervantes’ plays of captivity and of early modern Spanish Moorish tales, and directs the Working Group on the Comedia in Translation and Performance at UCLA. Professor Fuchs is one of the editors of the Norton Anthology of World Literature/Anthology of Western Literature, and a past editor of Hispanic Review.
GALLIMAUFRY, the new chamber chorus, is directed by Shira Kammen and features Peter Maund (percussion) and Michelle Levy (vielle). Gallimaufry was formed in early 2014 by Shira Kammen. The group performs music from the Medieval and Renaissance eras, as well as traditional and contemporary settings of early texts and tunes. The group is unusual in that it performs mostly secular rather than sacred music The name is a 16th century French word meaning mix or medley (usually referring to a stew or soup), and reflects the variety of music the group performs.
The ensemble consists of 20-25 singers from throughout the Bay Area.
Roland Greene (PhD, Princeton) is Mark Pigott KBE Professor in the School of Humanities and Sciences and Professor of English and Comparative Literature at Stanford. He is a scholar of Renaissance culture, especially the literatures of England, Latin Europe, and the transatlantic world, and of poetry and poetics from the sixteenth century to the present. His most recent book is Five Words: Critical Semantics in the Age of Shakespeare and Cervantes (2013). He is the editor in chief of the fourth edition of the Princeton Encyclopedia of Poetry and Poetics (2012). His other books include Unrequited Conquests: Love and Empire in the Colonial Americas (1999); Post-Petrarchism: Origins and Innovations of the Western Lyric Sequence (1991); and, edited with Elizabeth Fowler, The Project of Prose in Early Modern Europe and the New World (1997). Greene is general editor World Literatures Reimagined. He is the Director of Arcade, a digital salon for literature and the humanities. Greene serves as President of the Modern Language Association of America in 2015.
Multi-instrumentalist and vocalist Shira Kammen received her music degree from UC Berkeley and studied vielle with early music specialist Margriet Tindemans. Shira has performed with Alcatraz, Project Ars Nova, Medieval Strings, Sequentia, Hesperion XX, Boston Camerata, Balkan group Kitka, and the Oregon, California and SF Shakespeare Festivals; with singer/storyteller John Fleagle, Fortune’s Wheel, Ephemeros, Panacea, storyteller/harpist Patrick Ball, sopranos Anne Azema, Susan Rode Morris, Margriet Tindemans, and in theatrical and dance productions. She founded Class V Music, an ensemble performing on river rafting trips. She has performed and taught in the US, Canada, Mexico, Europe, Israel, Morocco, and Japan, and on the Colorado, Rogue and Klamath Rivers. She has played on television and movie soundtracks, including ‘O’, a modern high school-setting of Othello. Her original music can be heard in a film about fans of JRR Tolkien. The strangest place Shira has played is in the Jerusalem Zoo elephant pit.
Adrienne Martín (PhD, Harvard) is President of the Cervantes Society of America and Professor of Spanish and Associate Vice Provost-Global Affairs at UC Davis. She has published widely on early modern Spanish literature, including Cervantes, humor, sexuality and eroticism, lyric poetry, theater and performance, and Animal Studies. Selected books include Cervantes and the Burlesque Sonnet (1991); La poesía erótica de Fray Melchor de la Serna (2003); Venus venerada: tradiciones eróticas de la literatura española (2006); Venus venerada II: literatura erótica y modernidad en España (2007); An Erotic Philology of Golden Age Spain (2008); Spain’s Multicultural Legacies: Studies in Honor of Samuel G. Armistead (2008); and Perspectives on Early Modern Women in Iberia and the Americas (2015). She is Founder and Artistic Director of a theater group that stages Spanish Golden Age plays at Davis. Currently she is writing a book on the significance of animals in the works of Cervantes.
Stephen Orgel (PhD, Harvard) is J. E. Reynolds Professor in the Humanities at Stanford. His research interests include Shakespeare, Renaissance theater, history of the book, mythology and iconology. Selected publications include Imagining Shakespeare: a History of Texts and Visions (2003); The Authentic Shakespeare (2002); Impersonations: The Performance of Gender in Shakespeare’s England (1996); and The Illusion of Power: Political Theater in the English Renaissance (1975).
Lana Palmer, actress and producer, is the founder of Kaleidotone, a music production studio in San Francisco. Her music can be heard in TV series, games, films, commercials and mobile apps. She holds a BA in Film Studies and a BFA in Film Production from the University of Regina.
Cervantes, Miguel. Don Quixote, Part 1.
Shakespeare, William. Anything and Everything.
Cascardi, Anthony. Cervantes, Literature, and the Discourse of Politics (2011). Available in Kindle Edition.
Fuchs, Barbara. Passing for Spain: Cervantes and the Fictions of Identity (2003).
Greene, Roland. Five Words: Critical Semantics in the Age of Shakespeare and Cervantes (2013).
Orgel, Stephen. Imagining Shakespeare: a History of Texts and Visions (2003).
—. The Authentic Shakespeare (2002).
Stavans, Ilan. Quixote: The Novel and the World (2015).
Online resources are everywhere. Try this one for free online access to full-text Shakesepeare works as well as essays on his life and times: http://shakespeare-online.com