TUESDAY, 16 JULY
Cristina Dondi is Professor of Early European Book Heritage in the Faculty of Medieval and Modern Languages, and Oakeshott Senior Research Fellow in the Humanities at Lincoln College, Oxford.
Sonia Massai is Professor of Shakespeare Studies at King’s College London.
Heidi Craigis a Folger-Mellon Long-term Fellow at the Folger Shakespeare Library.
Julia Prest is Reader in French at the University of St Andrews, where she specializes in early-modern theatre, including ballet and opera. A graduate in Music and French, she wrote her PhD thesis on Molière’s comedies-ballets, before going on to write monographs on cross-casting in 17th-century French theatre and on the Tartuffe controversy, as well as numerous articles on related topics. More recently, Julia has turned her attention to the public theatres of colonial Saint-Domingue. In relation to her current project, she has published articles on white imitations of slave dance and on Caribbean performances of Gluck’s Paris operas, as well as a critical edition of the first play known to have been written in the French Caribbean: Les Veuves créoles. Julia’s bilingual (French-English) database of documented public theatrical performances in the French colony of Saint-Domingue between 1764 and 1791 was launched on 1 March 2018.
Regula Hohl Trillini is an adjunct lecturer and research associate in English Literature at the University of Basel; she also holds a degree in piano performance. Her first book The Gaze of the Listener: English Representations of Domestic Music-Making(Rodopi 2008) analyzes the place of music in the English imagination with particular regard to gender. More recently, she has been working in intertextuality studies and the reception history of Shakespeare’s works. Her monograph Casual Shakespeare: Three Centuries of Verbal Echoes(Routledge 2018) focuses on the apparently ‘thoughtless’ quotations and re-writings which have constituted an essential part of the ongoing Shakespeare phenomenon since the early seventeenth century and which are prefigured in Shakespeare’s own casual handling of his sources. Thousands of such references can be accessed in the HyperHamlet database, a collection which she co-designed and continues to edit. Regula Hohl Trillini’s current work for the nationally funded WordWeb / Intertextuality in Drama of the Early Modern Period project extends the database approach to the dense network of one-liners, plot elements and catchphrases which link hundreds of plays performed in London between 1533 and 1642.
Irina Pavlova: BA and MS at Higher School of Economics – Computational Linguistics; DPhil at the University of Oxford, working on establishing formal features for genre identification in Russian drama texts. The interests include TEI, creating corpora, digital humanities and literary studies, distant reading, and natural language processing technologies. The projects/initiatives I have been involved into are: creating a computational model for predicting suspense in literary texts; creating a TEI-encoded corpus of 90-volumes edition of Leo Tolstoy writings; creating and researching a TEI-encoded corpus of Russian drama texts. I was a part of the Digital Humanities Centre in Higher School of Economics in Moscow and was organising two Moscow-Tartu DH summer schools.
Beth Cortese is a Postdoctoral Research Fellow in the Department of Comparative Literature at Aarhus University, Denmark. She is currently researching inheritance in Literature using digital methods as part of the Unearned Wealth: A Literary History of Inheritance project. The subject of her PhD thesis was ‘Women’s Wit on Stage 1660-1720.’ Her research interests include wit, gender, inheritance and credit and trust relations in early modern, Restoration and eighteenth-century drama.
Jakob Ladegaard, PhD, Associate Professor in Comparative Literature, Aarhus University, Denmark. My research is primarily concerned with the relations between modern literature, politics and economy. I work on Early Modern English drama with a particular interest in comedies (including Shakespeare, Marlowe, Jonson and Richard Brome), and using both qualitative and quantitative digital methods. Since 2017 I have been the director of a four year collective research project entitled ”Unearned Wealth – A Literary History of Inheritance, 1600-2015”, supported by the Danish Research Council. The project deals with literary representations of inherited wealth in England and France from the Early Modern period to the present.
Dr. Meaghan J. Brown is the Digital Production Editor at the Folger Shakespeare Library, interested in early modern data, particularly bibliographical data, and how to use it to facilitate search, discovery, and reuse of primary source materials.
Iain Emsley: I am a PhD student in Digital Media researching the potential for alternative ways of understanding complex cultural forms through the use of what I am calling distant sonification. Previously I was a Research Associate at the Oxford University, where I gained an MSc in Software Engineering. My research interests include reproducibility, digital humanities and methodology.
Alexa Alice Joubin is Professor of English at George Washington University in Washington, D.C., where she is founding co-director of the Digital Humanities Institute. She held the Fulbright Distinguished Chair in Global Shakespeare studies at Queen Mary University of London and University of Warwick. As research affiliate in literature at MIT, Alexa is founding co-editor of the open-access digital performance archive Global Shakespeares. Her latest book is Race, which is co-authored with Martin Orkin and is part of the Routledge Critical Idiom series.
Shirley Bell: I am a NECAH funded PhD student in renaissance literature based at Sheffield Hallam University and my research explores the use of music and song in Caroline drama (1625 – 42). I am particularly interested in the ways in which vocal and instrumental music shaped the lives of early modern citizens, especially those who attended and performed in the theatre. I am also interested in the texts of the songs mentioned in the plays of this period and I am using online databases including EEBO-TCP, EBBA, and Bodleian Ballads to discover the life of these songs before, and after, their involvement in the plays to establish their roles within the drama.
Andrew Cusworth is a postdoctoral research fellow at the Bodleian Libraries attached to the Prince Albert Digitisation Project. Acting as an academic liaison for the project, his research explores possibilities for enhancing the use, accessibility and connectivity of this digital resource. His research interests include intersections between digital research, the archive, and cultural history = particularly reception history and histories of cultural experiences. He has held positions at the National Library of Wales and the University of Exeter Special Collections. He is also active as a musician and composer.
WEDNESDAY, 17 JULY
Dr. Christie Carson: I am a Reader in Shakespeare and Performance and have created several digital resources myself. I have also taught with and analysed the resources created by others online for the study of Performance history over the past two decades.
Mary Erica Zimmer is a Research Associate with MIT Global Shakespeares: The Merchant Module, under the direction of Diana Henderson. Her early modern textual studies consider the intersection of digital approaches with earlier media, emphasizing the affordances of each within an evolving theatrical continuum. She recently received her PhD in Editorial Studies from The Editorial Institute at Boston University and is honored to advance digital bibliographic studies undertaken since 2013 in conjunction with the Folger Shakespeare Library.
Ramona Riedzewski is Head of Collections Management in the Theatre and Performance Department of the V&A, which holds the UK’s National Collection of the Performing Arts. As a professionally trained archivist, she worked in a number of different organisations as archivist, records manager and librarian, including Trinity College Library, Dublin; the National Library of Ireland, the Irish Red Cross as well as the Arts Council of Ireland. In recent years, she has been an Executive Committee member of both SIBMAS, the International Association for Performing Arts Collections, as well as APAC, the Association for Performing Arts Collections (UK and Ireland). Ramona is currently a member of the Memory of the World Register for the United Kingdom.
Dr. Stephen Wittek is an Associate Professor in the Carnegie Mellon English Department, Literary and Cultural Studies Division. His research considers early modern drama through the lens of media studies, digital humanities, public sphere theory, and cultural studies, with emphasis on issues of emotion, conversion, performance, and cognition. He is the author of “The Media Players: Shakespeare, Middleton, Jonson, and the Idea of News” (University of Michigan Press, 2015), co-editor of “The Merchant of Venice” (Internet Shakespeare Editions), and co-developer of the DREAM digital platform for analyzing early modern texts.
Oscar Seip submitted in 2018 his PhD thesis in Italian Studies at the University of Manchester, supported by the John Rylands Research Institute. His research focuses on the Italian humanist Giulio Camillo (c.1480-1544) and his Theatre of Knowledge as an example of the intertwined history of the theatre and the sciences. In relation to this, he studied as part of his PhD a manuscript at the John Rylands Library, which contains a description of Camillo’s theatre. He currently works on a pilot project to create a 3D prototype of Camillo’s theatre. Oscar is also a founding member of the Lives of Letters Network, which is currently developing into the Manchester Centre for Correspondence Studies. Additionally, Oscar is the Managing Director of the Transversal Theater Company, which he co-founded with Prof. Bryan Reynolds from the University of California, Irvine. In regard to this, he produced with Reynolds several plays by the former, as well as plays by Shakespeare as part of an outreach project. He also coordinates Transversal’s second two-year EU-funded project (ERASMUS+ Strategic Partnerships Programme).
Jesús Tronch is Senior Lecturer at the University of Valencia, where he teaches English literature and creative translation. His main research interests are textual scholarship (basically on early modern drama), translation and reception studies (specifically the presence of Shakespeare in Spain) and the use of digital technologies in early modern theatre studies. At present, he is editing _Timon of Athens_ for the Internet Shakespeare Editions; collaborating in EMOTHE, an open-access, hypertextual and multilingual collection of early modern European theatre developed by the ARTELOPE research project at the University of Valencia; and directing the HIERONIMO digital environment for early modern English drama in translation.
Gemma Burgos-Segarra: A PhD Student in Spanish Golden Age drama, she is working in a critical and digital edition of Lope de Vega’s play “La discreta enamorada” (In love but discreet) for the EMOTHE multilingual collection of early modern European theatre with a predoctoral grant form Spanish goverment from 2014-2018. At the moment she is collaborating with the ARTELOPE research project at the University of Valencia by digitizing and editing Lope de Vega’s comedia and works as research assistant at a contemporary Spanish Literature project.
Franklin J. Hildy, Producer of the “The Triumph of Isabella,” An Exploration of Performance through Art and Art through Performance, is Director of the International Program for Creative Collaboration and Research at the University of Maryland where he is also on the faculty of the Graduate Certificate in Digital Studies in the Arts and Humanities and the faculty of the Center for East Asian Studies. He was the founding co-convener for the Digital Humanities in Theatre Research Working Group of the International Federation for Theatre Research (IFTR) and also organized the Theatre Panel of the Performing Arts Field Committee for the National Initiative for a Networked Cultural Heritage (NINCH) which resulted in the $900,000 grant for “Virtual Vaudeville.” He has held two consecutive fellowships with the Maryland Institute for Technology in the Humanities (MITH). Professor Hildy was elected to the College of Fellows of the American Theatre in 2010 and elected Senior Research Fellow of Shakespeare’s Globe, London, in 2015. He is co-author, with the late Oscar G. Brockett, of five editions of History of the Theatre; which has been translated into Chinese, Czech, Fārsī, Greek, Korean, and Ukrainian and has published over 65 articles on historic theatre architecture, theatre archaeology, stage technology, and the history of Shakespeare in performance. (The other “Triumph of Isabella” contributors include Paul Deziel, Christen Mandracchia, and Q-mars Haeri.)
Stacey Redick is Digital Strategist at the Folger Shakespeare Library. She oversees information architecture of digital initiatives, leads user experience research and design, and collaborates with institutional partners on digital initiatives. She has worked on the Miranda platform, the Folger’s home for digital collections. She holds an M.A. in Ancient History and Italian from the University of St Andrews, and an M.I. in Library and Information Science with Book History and Print Culture from the University of Toronto.
Sophie Byvik is the Folger Shakespeare Library’s Digital Projects Associate. In addition to facilitating the day-to-day operations of the Digital Media & Publications division, she currently performs budget analysis, coordinates Miranda interpretive digital content, and is managing the early stages of an institutional digital infrastructure project. She also works on division event planning, usability testing, and analytics. Sophie holds an A.B. in English from Bryn Mawr College.
Richard Palmer, Tech Lead, Victoria and Albert Museum, London: Richard leads the tech team in the Digital Media dept responsible for the V&A’s web estate, from the main visitor website to the collections site, and various fascinatingly amorphous projects in between. He is a co-chair of the IIIF museum group.
Jenny Fewster, AusStage Database Project Manager: Jenny joined AusStage, the Australian national online resource for live performance research, when the project began in 2000 and was appointed Project Manager in 2003. During her time with AusStage the project has been successful in gaining over $5 million (AUD) in funding from the Australian Research Council, Australian National Data Service, National eResearch Architecture Taskforce, eResearch South Australia and the Australian Access Federation. Jenny is active in nurturing relationships between university researchers and cultural collections. She is currently the Interim Chair and Secretary of the Performing Arts Heritage Network of Museums Galleries Australia and has served on that Committee for the last eleven years.
Julian Meyrick is Strategic Professor of Creative Arts at Flinders University, South Australia, the Artistic Counsel for the State Theatre Company of South Australia (STCSA), and a member of both the Currency House Editorial and CHASS Boards. He was Associate Director and Literary Advisor at Melbourne Theatre Company (MTC) 2002-07 and Artistic Director of kickhouse theatre 1989-98. He has published histories of Sydney’s Nimrod Theatre and the MTC, and numerous articles on Australian theatre, culture, and cultural policy. He is Chief Investigator for both the AusStage database and Laboratory Adelaide, an ARC Linkage project studying the problem of culture’s value, and a regular contributor to The Conversation. The Retreat of Our National Drama,his second Currency House Platform Paper was launched in 2014. He is the director of over 40 award-winning theatre productions, including Angela’s Kitchen,which attracted the 2012 Helpmann for Best Australian Work. He was a founder member and Deputy Chair of PlayWriting Australia 2004-09 and a member of the federal government’s Creative Australia Advisory Group 2008-10. His book Australian Theatre after the New Wave: Policy, Subsidy and the Alternative Artist appeared in 2017. What Matters? Talking Value in Australian Culture, co-authored with Robert Phiddian and Tully Barnett, was published by Monash University Publishing in 2018.
THURSDAY, 18 JULY
Dr. Barbara Bell: During a career teaching in UK universities, specialising in blended/online learning and literary management, Dr. Bell has researched, presented and published on Scottish theatre history, contemporary playwriting, Victorian Medievalism and digital pedagogy in the performing arts.
Johanna Schmitz, PhD is professor of theater history at Southern Illinois University Edwardsville and archivist for the Rose Theater Trust.
Felix Barnes: Felix Barnes is a Senior Editor at Adam Matthew Digital, an academic publisher of archives and primary sources. He works on the production of these primary source collections, seeing them through the process of digitisation and publication online. He has worked on the publication of various primary source collections from The Gilder Lehrman Institute’s collection on American history to filtm collections at the British Film Institute.
Richard Ovenden OBE is Bodley’s Librarian, Bodleian Libraries, Oxford.
Professor Tiffany Stern is Professor of Shakespeare and Early Modern Drama, Shakespeare Institute, University of Birmingham.
Professor H.R. Woudhuysen FBA is Rector of Lincoln College, Oxford.
Dr. Giles Bergel and Dr. Abhishek Dutta are based in the Visual Geometry Group (VGG) in the Department of Engineering Science at University of Oxford. Dr. Bergel is a book historian and a digital humanist, with particular interests in broadside ballads and in the history of copyright. Dr. Dutta is a Research Software Engineer, and is the developer of the Traherne software tool.
Alan H. Nelson is Professor Emeritus in the Department of English at the University of California, Berkeley. He is author of Monstrous Adversary: The Life of Edward de Vere, Seventeenth Earl of Oxford (Liverpool University Press, 2003). He is editor or co-editor of three multi-volume collections in the Records of Early English Drama series: Cambridge (1989); Oxford (2004); and London: Inns of Court (2010). He has contributed many essays to the “Shakespeare Documented” website sponsored by the Folger Shakespeare Library, Washington, D.C.
Thomas Dabbs is a professor in the Department of English and American Literature, Aoyama Gakuin University, where he teaches Shakespeare and the English Bible. His current research interests involve using digital technology to envision and describe spaces and places in Elizabethan London that were integral to the rise of Elizabethan drama.
Pip Willcox is Head of Research, National Archives UK.