The Shakespeare & Performance Thesis Festival is a conference style presentation of the Master of Letters students’ research for their Thesis Projects. It is integral to their decree completion as well as being a communal sharing of ideas and research.

This year’s thesis festival is taking playce Sunday November 7th (4:20pm-8:15pm) and Monday November 8th (9:00am-6:00pm). See below for a full schedule. 

This event is open to the public, however all attendees must abide by the Masking and Vaccination policies below.

MBU Vaccination & Testing Policies for attending the Thesis Festival

All attendees must show either a valid MBU ID, proof of vaccination (picture of physical copy of their card), or proof of a negative COVID test* to gain entry to the Thesis Festival. 

*In order to be accepted, the negative COVID test must have been administered within 72 hours of the event (meaning after Thursday November 4th) and it must be validated by a healthcare provider (meaning that at-home tests are not accepted).

For more information and details: 

ASC Masking Policies for Indoor Events

All attendees (regardless of vaccination status) must wear a mask at all times while inside the Blackfriars Playhouse. Presenters may briefly lower their masks to take a sip of water. 

At all other times, there should be no food or drink consumed within the playhouse and masks must be worn at all times.

Schedule of Events
(Event Program)

Sunday, November 7th

SESSION ONE 4:30 – 6:10 PM – Staging, Masques, and Staging Masks

  • Andrew Knight – “Theatre Remasked: The Benefits and Challenges of Incorporating Character Masks into Modern Shakespeare Performance”
  • Ariel Tatum – “Fool Me Twice: Gender Expression and Shakespeare’s Fools”
  • Kelsey Harrison – “A Little Wisdom, Imagination, and Courageous Experimentation: Directing Early Modern Plays with the Michael Chekhov Technique”
  • Cole Metz – “Documenting Catholicism in Early Jonsonian Masques”

SESSION TWO 6:25 – 8:05 PM – Royal Histories and Theories

  • Jordan Willis – “‘A Seducer and a Hussy on a Meadow in Arcady’: A Textual and Psychological Defense of Shakespeare’s Margaret de Anjou”
  • Kelsey Linberg – “Imitate the Moon: An Asexual Henriad”
  • Katelyn Spurgin – “‘A Kingdom for a Stage’: The unspoken cultural relationship and endurance of the modern British Monarchy and Shakespeare’s history plays”
  • Kailey Potter – “Saving Face in Henry V: Hal in the Context of Goffman’s ‘Face-Work'”

Monday, November 8th

SESSION THREE 9:00 – 10:40 AM – Textual Possibilities

  • Elisabeth Hayward – “Barnabe Riche, the Richest Source”
  • Chase Fowler – “‘An if thy tongue can speak’: Examining Language and Meter as a Form of ‘Othering’ in Titus Andronicus”
  • Kara Hankard – “Bisexual Possi-Bi-Litites”
  • Rachel Louis – “Letter to the Editor”

SESSION FOUR 10:55 AM – 12:10 PM – Influencing Shakespeare

  • Rosemary Richards – “Shakespeare at a Distance: An Investigation into the Development of Shakespearean Intimacy Direction and its Evolution Post Covid-19”
  • Samantha Corey – “Following the Need: A New Business Model for the Future of American Theatres”
  • George Durfee – “Chorus & Creation: Indigenous American Storytellers and Shakespeare’s Chorus Presenters”

12:10 – 1:10 PM

SESSION FIVE 1:10 – 2:25 PM – Audience, Adaptation, and Collaboration

  • Leland Monson – “Hamlet by Committee”
  • Macy Foss – “Knowing Your Audience: How and Why Shakespeare Adapted His Depictions of Magic During the Successive Reigns of Queen Elizabeth 1 and King James I.”
  • Cameron Taylor – “The Collaborative ‘Problem’: Investigating the Relationship between Shakespeare’s ‘Problem Plays’ and his Collaborations with Thomas Middleton”

SESSION SIX 2:40 – 3:55 PM – Subverting Text and Body

  • Madison Rudolph – “Where Have All The Mothers Gone: An Examination of the Effects of Absent Mothers on Female Gender Identity in Shakespeare’s Comedy Plays”
  • Elizabeth Somerville – “Ten Things I Hate About Shrew”
  • Madison Mayberry – “Formal and Informal Pronouns as Weapons”

SESSION SEVEN 4:10 – 5:25 PM – Fate, Fights, and Fortune in Early Modern Theatre

  • Keith Taylor – “All is on the Hazard”
  • Dylan Mabe – “Accusations of Nonheteronormative Behavior against the Aristocracy and their Consequences on Early English Theatre”
  • Gil Mitchell – “[They Fight]”

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