In January 2024 I was invited to speak on a roundtable at the British Society for Eighteenth-Century Studies (BSECS) annual conference about the future of the eighteenth century. Each speaker was invited to share their aspirations for what they hoped a specific aspect of eighteenth-century studies might look like, before opening the workshop up for discussion about how we might work together to make these visions a reality. I was asked to speculate about the future of eighteenth-century studies from a pedagogical perspective. The following is based on my response to this question.  

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In terms of how eighteenth-century literature is taught ten years from now, I hope we will continue to see a move away from chronological survey modules that promise or promote, implicitly or explicitly, a completist account of the eighteenth-century as a literary period. In fact, the way “culture” is packaged, presented and consumed these days (though disconcerting in many ways) does perhaps equip students well for coping with the vast complexities of such a sprawling and self-referential age as the eighteenth century. 

How do Gen Z consume media? Through streaming, asynchronous cultural consumption and via sprawling multimedia franchises. They’ve grown up with the MCU (Marvel Cinematic Universe), the DCEU (DC extended universe), the SSU (Sony’s Spiderman Universe, which doesn’t actually contain Spiderman), the MonsterVerse, the Multiverse, the Metaverse, now also the Whoniverse. Yes, there are major problems with the way one one or two huge corporations have come to colonise the popular imagination, but one possible silver lining is that a student who can enjoy a film about an obscure superhero’s flying dog without worrying about how it might fit into the other prior 40+ films and goodness only knows how many TV shows, videogames, cartoons and escape rooms it’s connected to, can probably handle first encountering Alexander Pope by studying Anne Ingram’s ‘Epistle to Pope’, or gradually developing a sense of the significance of Samuel Richardson by reading Sarah Fielding, Jane Collier and Charlotte Lennox.  

The recently revised Quality Assurance Agency for Higher Education (QAA) Benchmark statement for English Literature doubles down on the continuity and persistence of disciplinary certainties (for instance, it states that literature is the “distinct analysis of discourse and meaning in communication, including aesthetics and rhetoric”) whilst also advocating a series of themes, which include Equality, Diversity and Inclusion. The statement models really well how it is possible to embrace urgent and emergent themes, approaches and considerations, whilst also maintaining our existing disciplinary procedures.   

 People often say studying literature promotes citizenship, empathy and kindness, and if that’s true, I can see how it would be the natural consequence of rigorous engagement with texts on a compositional level, because the text—especially the historical text—itself becomes an encounter with difference. It requires generative attentiveness: a consideration of the context, audience and meaning of each alien utterance. With the vast digital archives of primary materials at our disposal, increasingly diverse scholarship, and Broadview Press doing the genuinely heroic work of making lesser-known texts and the stories of their composition more and more available, there are so many new texts to teach and more and more ways to think about and teach them. And I think eighteenth-century literature is a particularly well-suited forum for exploring the kinds of questions relating to matters of Equality, Diversity and Inclusion. 

First, because the eighteenth century is a mess. A huge, sprawling, self-referential, deeply intertextual, massively ephemeral mess. It is this mess of printed matter and the curious, contradictory, and often playful ways in which it promotes, applies, figures and resists concepts, paradigms and performances that makes the period endlessly fascinating. The messiness of it is a feature, not a bug, and something to be embraced. We can enter this maelstrom of ideas, opinions and representations from any angle – you’ll still feel the gravitational pull of Swift, the weight and ripples of Pope, the very long shadow of Dryden, the influence of Richardson, Fielding and Johnson, but you needn’t necessarily start there.  

 Second, the very same questions we are asking in our present moment—about who is and isn’t seen, who is heard, who is included and excluded and what we can and should do about this—are already there in eighteenth-century literature. The question of who is ‘hailed’ by the print within this public sphere draws attention to discussions that ring hauntingly prescient in our current moment. Whilst the dominant print culture might assume a white middle class reader similar to that of the authorial voice, there are texts which work hard to draw attention to this, to deconstruct it, and to find space for alternate voices and audiences.  

In the periodical The Parrot, for instance, Eliza Haywood writes as an involuntarily displaced green parrot who explicitly rejects the implied kinship of his readership, as is often assumed in periodical literature, insisting instead on unfamiliarity rather than familiarity as a means of deconstructing the homogeneity of the white masculine public sphere in which it exists.  These dynamics are often at work in the allegories and metaphors of the period. Arabella, the hero of Charlotte Lennox’s Female Quixote, for instance, invents a silent means of communicating in gestures as a way of resisting language prescribed by the dominant patriarchy. And of course, they’re there in the letters of Charles Ignatius Sancho: the complex subjectivities he inhabits, avoids, subverts or, just plays with. depending on who he addresses and why.  

On my second year early eighteenth-century module on the English Literature programme at York St John University, which is called ‘Dawn of Print’, I frame the module as being about print culture and intertextuality. The whole thing is about the dialogic relationships between these texts (and actually quite a lot about the influence of Don Quixote). So, for these students, their tour of the eighteenth century went: John Dryden, Bernard Mandeville, Mary Leapor and Anne Ingram responding to Pope, Sarah Fielding, Jane Collier, Eliza Haywood, Charlotte Lennox, Ignatius Sancho, James Cook and Lady Mary Montagu, Jonathan Swift (Gulliver’s Travels) and Laurence Sterne. And I’m telling you this because over Christmas, an interesting thing happened.  

A meme began circulating on X and TikTok called “Classic Bookshelf”, which depicts a “classic map” of 57 titles, and readers are encouraged to colour them in as they read them. A lot of the viral tweets were students sharing the image – which presents a fascinating and deeply traditional vision of canonicity as understood by the public (I suspect it’s American)—complaining that they didn’t know what they were paying their tuition fees for because so few of these featured on the English degree reading lists.  

 

But then, one of the students from Dawn of Print, Maddison Warley, produced her own response—the “slayteenth century”—making the point that there are other ways of reading and, at the risk of sounding like a big humble bragger, I was so pleased and surprised by the texts she chose to include.  

  

I wanted to end with this because it’s fun, but also because I hope this is the future. The eighteenth century has always been a conversable century and if we continue having difficult conversations, keep pushing the boundaries of how we approach this literature and whose voices we centre, I really do believe that in 2034, we can have it all. 

 

Victoria Walpole is one of our artist liaisons on the Literature at Work module. This week she has been working with our visiting performers from  the Ivano-Frankivsk Theatre Company in Ukraine. Victoria tells us more.

Saturday 20th April sees the world premiere of Working Title: a collaboration between York International Shakespeare Festival and the National Theatre of Ivano-Frankivsk (UKRAINE) in York St John University’s Creative Centre, at 2pm and 7.30pm This performance promises to be incredibly imaginative and powerful, so you will not want to miss it. The show will feature a blend of Ukrainian and English culture, creating a captivating and unique experience for all.

I hear that, despite the challenges of the Russian invasion of Ukraine, the Ivano-Frankivsk Theatre Company has continued to showcase plays and even created a humanitarian logistics centre called “Movement of Resistance – Movement of Help” to support those displaced by the war and soldiers of the Armed Forces of Ukraine.

The Ivano-Frankivsk Theatre Company has a reputation for producing creative and innovative shows that have established its place in the Ukrainian cultural world, having always been acclaimed for its unprecedented creative “explosions”, highlighting its active artistic position in culture. 

This highly respected theatre company has an exceptional cast of star actors, including Ivan Blindar and Mariia Stopnyk, who have joined us this week on our campus. Ivan and Mariia  have been working closely with the York International Shakespeare Festival to create an original piece of work in collaboration with volunteer actors from and around York. These include Ukrainian performers who are currently living here.

For the past week, the actors have been hard at work in rehearsals, creating and practising pieces to perform on the first weekend of the festival. The pieces they have created combine Shakespeare’s incredible plays with the contemporary. They blend Ukrainian and English culture to create compelling pieces that will astound audiences. Working alongside Ivan and Mariia has been a privilege and a fun experience for all involved. Their love and passion for their work is reflected in their performances, and it has been a pleasure to be alongside them during the creative process. Through the use of imaginative warm-up exercises and sonnet performances, Phillip Parr has been able to direct the creative process to mould a stunning performance that beautifully symbolises the collaboration between the Ivano-Frankivsk theatre and the festival. Part of this process is making sure everyone who volunteered has a voice in what they want to give and take from the final performance.

During the rehearsals, local artist Lynne O’Dowd has been diligently capturing the dedication and momentous efforts of everyone involved through her paintings. These paintings will be part of the final performance, highlighting the creativity and hard work that has gone into bringing this production to life.

This performance promises to be incredibly imaginative and powerful, so you will not want to miss this! Everyone involved has put their heart and soul into creating a beautiful piece to perform, making these performances even more special. Creating a performance in such a short amount of time is a real feat of skill and everyone involved worked incredibly hard to make this possible.

When and where?

The event will be performed on Saturday the 20th of April at 2 pm and 7.30pm in the York St John Creative Centre Auditorium as part of the York International Shakespeare Festival. Tickets are only £15 at full price, with students and concessions only paying £5.

When buying tickets also look out for and consider buying a Pass It On Ticket which we can offer to community members who may not otherwise be able to attend as we want to make it possible for as many members of the community to come to festival performances!

To buy tickets and or more information about the York International Shakespeare Festival you can go to its website.

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Twitter @yorkshakes

Facebook /yorkshakes email info@yorkshakes.co.uk

 

Hey there, Shakespeare enthusiasts and creative minds of York! Are you ready to turn your passion for the Bard into a thrilling volunteering experience? The York International Shakespeare Festival is just around the corner, running from the 18th to the 27th of April, and we’ve got some exciting opportunities waiting for you! Whether you’re a die-hard Shakespeare fan or just looking to spice up your C.V., we’ve got a role for everyone.

 

Embrace the Excitement: Become a Festival Volunteer!

Whether you’re interested in ushering, marketing, event organisation, or social media and content creation, there’s a place for you in this exciting journey!

 

Why Volunteer, You Ask?

 

Free Access to Events

Picture this: not only do you get to be part of the magic behind the scenes, but you also get a ticket to some of the festival’s events – for free! As a Festival Volunteer, you’ll have the opportunity to enjoy the fruits of your labour by attending select shows and immersing yourself in the enchanting world of Shakespeare without spending a penny.

 

Festival Program Now Available: http://yorkshakes.co.uk/programme-2024/

 

Boost Your CV and Develop Your Graduate Attributes

 

Being a Festival Volunteer isn’t just about the joy of contributing to a cultural extravaganza; it’s also a fantastic addition to your CV. Employers love to see candidates who have actively participated in community events and taken on responsibilities beyond the classroom. Your volunteering stint will showcase your dedication, teamwork, and ability to take initiative – qualities that stand out in the professional world.

 

How to Get Involved

Fill out this form: https://form.jotform.com/240395509337057 and let the Shakespearean adventure begin! Any questions, contact Skylar at skylar@parrabbola.co.uk

 

Don’t miss this chance to immerse yourself in the world of Shakespeare, make lasting memories, and build a CV that shines as brightly as the stage lights. Become a Festival Volunteer and let the magic unfold!

Let’s celebrate LGBTQ+ History Month!

February is LGBTQ+ History Month!

We are very excited to celebrate and there’s a lot to get hyped about at YSJ:

 

Free Speech and Hate Speech: Analysing ‘anti-gender’ Discourse

7^th February 2024, 4:30-5:30pm, Creative Centre Auditorium

This LGBTQ+ History Month talk focuses on what is commonly referred to as homophobic and transphobic ‘soft hate speech’ which (unlike ‘hard’ hate) operates within the limits of the law and may be perceived as ‘sayable’ in the public sphere. This makes it more difficult to recognize and challenge. This talk is being given by our very own Helen Sauntson (Professor of English Language and Linguistics) and is going to be a must-be-at event. Book your ticket here: https://www.eventbrite.co.uk/e/lgbtqhm-free-speech-and-hate-speech-analysing-anti-gender-discourse-tickets-756706679047?aff=oddtdtcreator

In Conversation with Dom&Ink

Tuesday 13^th February, 6-8pm, Creative Centre Auditorium

Come along and listen to illustrator and author Dom&Ink talk about their work, from illustrating RuPaul’s Drag Race for the BBC to writing their new graphic novel. Dom will be interviewed by Lali from York’s own The Portal Bookshop, and the event will be followed by a book signing and drinks reception. Book your ticket here: https://www.eventbrite.co.uk/e/lgbtqhm-2024-in-conversation-with-domink-tickets-780078825767?aff=oddtdtcreator 

Can you Adam and Eve It? Queering Heterosexuality in Genesis

Wednesday 21^st February, 4-6pm, Creative Centre

Join us at York St John University for this hybrid event to mark LGBT History Month 2024. Hosted by the Centre for Religion in Society, hear Dr Chris Greenough’s talk, ‘Can you Adam and Eve it? Queering Heterosexuality in the Genesis Narrative’, followed by Q+A and a drinks reception. Book your tickets here: https://www.eventbrite.co.uk/e/lgbtqhm-can-you-adam-and-eve-it-queering-heterosexuality-in-genesis-tickets-732646233607?aff=oddtdtcreator

 

On Wednesday 13th March 2-4pm, in the run-up to Transgender Day of Visibility, the LGBTQ+ Staff Network and the Athena Swan Initiative are holding a hybrid event to celebrate trans and non-binary scholarship at York St John University. This will be an informal, supportive space where all members of staff and students who are trans, non-binary, gender-diverse or are creating work related to these communities are encouraged to take part and share their work. Whether you are a first-year undergrad with an essay you’d like to share or a seasoned academic, we want to hear from you!

We welcome our London staff and student scholars to join the event, as hybrid presentations are possible.

This is a supportive space for trans, non-binary or gender-diverse scholars and students to share their work. If you know of anyone (staff or students) at YSJ who would be interested in presenting their work, we want to celebrate your contribution to the YSJ community. For more information, please contact Naomi Orrell at LGBTQPlusStaff@yorksj.ac.uk.

This year’s YSJ Literature’s annual Words Matter Lecture  will be delivered by Dr Liesl King, speaking about ‘Speculations on Embodiment’ . This will take place on Thursday 7th December, starting at 6pm, with a drinks reception at 7pm. 

This year’s lecture will explore ways in which the word ‘embodiment’ has inspired Dr Liesl King’s teaching practice, university projects, and publications. She will consider the representation of embodied living in the fiction of Ursula K. Le Guin, the ‘tertium quid’ in Dr Angela Voss’ approach to classroom teaching, and the concept of ‘sensuous knowledge’ advanced by Minna Salami in her critical work of the same name published in 2020. The presentation will look at three ways in which Liesl, sometimes through hindsight, has drawn on the word ‘embodiment’ to inform her approach to academic practice: her online science fiction magazine, Terra Two: An Ark for Off World Survival, her upcoming co-written guidebook on Speculative Fiction (New Critical Idiom series, Routledge), and her nascent project on the ‘Embodied University’.

For more details and to sign up, please refer to the Eventbrite: https://www.eventbrite.co.uk/e/words–matter-dr-liesl-king-tickets-732688941347?aff=oddtdtcreator

Anna Brizzolara is a student on the YSJ Creative Writing MA who has recently been focussing on Critical Approaches to Creative Writing. This is Anna’s review of Lemn Sissay’s recent poetry reading at Manchester Literature Festival. Sissay’s adaptation of Kafka’s Metamorphosis is coming to York Theatre Royal 10th-14th October 2023.

I wanted tickets to see Zadie Smith.

That’s how I found Lemn Sissay.

He shared the programme for the Manchester Literature Festival alongside Zadie’s sold-out event.

Lemn hosted an evening at ‘Home’. Home, a theatre, gallery, independent film screen and all-round centre of creativity and culture that had a cosy, community feel. It opened in 2015 in the heart of Manchester; relaxed, no fancy wine list, plenty of craft beer and pots of pic ‘n’ mix. Volunteers in printed T-shirts smiled, ushered you along brushed concrete corridors and showed you to your multi-coloured upholstered seats.

I wasn’t sure what to expect. Continue reading “One writer leads you to another – discovering Lemn Sissay’s ‘Let the Light Pour In’ by Anna Brizzolara”

Dr Saffron Vickers Walkling introduces titles to look out for this ESEA Heritage Month and beyond.  Saffron lived and worked in China for five years, and their research area includes late twentieth century Chinese Shakespeare in performance.

September is East and South East Asian Heritage Month. Founded in 2021 by Britain’s East and South East Asian Network (besea.n), it commemorates “those who have contributed positively to British society” and celebrates “the richness of ESEA culture”, says Michelle Chan. 

In alphabetical order, East Asian and South East Asian countries include: Brunei, Burma (Myanmar), Cambodia, China, Hong Kong, Indonesia, Japan, Laos, Macau, Malaysia, Mongolia, North Korea, Singapore, South Korea, Taiwan, Thailand, the Philippines, Timor-Leste, and Vietnam. 

Besea.n say that their “vision is one where our communities are seen and supported in all spaces”. This includes the sold out ESEA Lit Fest at Foyles Bookshop in London, which started on 23rd September 2023.    

Here are some highlights from their Reading List: 

A Lover’s Discourse by Xiaolu Guo tells of a Chinese woman’s life in London, reflecting on the nature of cross-cultural love and language. The title references Roland Barthes’ book of the same name, and its Cantonese film adaptation. Novelist and filmmaker Guo came to YSJ in 2008 as part of our China Week to speak about her debut English-language novel A Concise Chinese-English Dictionary for Lovers, which our first years were studying on their Gender and Writing module. Although not a sequel, A Lover’s Discourse revisits and reframes many of the tropes of the earlier book. Her film She, A Chinese is also currently showing on Channel 4. 

Night Sky with Exit Wounds is a collection of poetry by the Vietnamese-American writer and academic Ocean Vuong, reflecting on his refugee experience – both its horrors and its wonders.

Vuong’s novel On Earth We Are Briefly Gorgeous sustained us through the long holiday of 2021 as our Big Summer Read. See more here.

 

If you want something that will shock and amuse you in equal measures, check out Yellowface by R. F. Kuang, a hilarious satire on the ultimate in literary cultural appropriation…

This bestseller combines big ideas with humour and is simultaneously thought-provoking and immensely readable! 

 

 

If you’ve never read Kazuo Ishiguro’s Never Let Me Go, then now is the time to remedy this.

A firm A-level favourite for many years, Ishiguro’s novel about a group of young people at an English boarding school quickly reveals the dystopian side of its apparent idyllic setting. 

 

 

If it’s film you are interested in, Channel 4 has a selection for ESEA, including the first ever British Chinese feature film, Ping Pong, which I’ve reviewed here. “Elaine Choi (Sheen), a trainee lawyer tasked with executing the will of local businessman Sam Wong, whose body has been found in a telephone box, receiver still in hand. The trouble is, she can’t read Chinese characters.”

 

 

You can find Film 4’s complete ESEA listings here:

Michael is a second year Creative Writing and Media student at York St John and a volunteer blog reviewer for York International Shakespeare Festival. In this review, Michael looks at Flabbergast Theatre’s production of ‘The Tragedy of Macbeth’ performed in the York St John Creative Centre on the 26th of April 2023. 

Shakespeare gets a bad reputation in my opinion. From the time were born we are told that he was and is the greatest writer that has ever come from this country, that every work he’s ever written is a masterpiece. So we must diligently study his texts and analyse them, we must perform them with the utmost respect for the source material. This leads to a lot of people hating Shakespeare and condemning it as dry or boring or too difficult to understand or… you get the idea. But actually, Shakespeare can be fun. 

I’ve always loved Macbeth, I studied it in high school so it’s one of the few Shakespeare plays I actually know and understand. I’ve always loved Lady Macbeth as a character, the ideas of betrayal and guilt that get explored, the context in which the play itself was written, but I’ve never seen that many performances of it. I watched a few films that played with the setting but not in any way other than superficially and there was a touring group who performed a few fight scenes from it in my school assembly hall which was quite entertaining, but this was the first time I’d seen a full stage production of it and I really enjoyed it. 

The whole thing felt like watching a bunch of kids playing pretend in the muddy parts of some dense woods. It really hit me in the scene where Macbeth kills Duncan, the actors all pulled out small sticks for daggers and it reminded me of running through this forest near the top of the street of my childhood home. I’d brandish my own sticks as swords and duel with my sister or use them as ways of clearing my treacherous path on the long (short) journey it took to walk down to the corner shop to claim my reward (a pick a mix bag usually containing a jelly snake, my favourite). Despite the tragedy of the story, the performers all seemed to be so joyous and enthusiastic about what they were doing, they had the permission to run around, shout and scream just as kids do.

It also brought back these ideas of the roots of storytelling sitting around a fire in the darkness, the primal and animalistic nature that is inherent in performance. At times, the whole show felt like one big ritual, the witches and supernatural being such a strong part of the original play definitely contributed to this but the rhythmic chanting and general atmosphere brought by the performers made it a much more intimate experience. At times it was almost psychedelic, with lights and shadows being cast everywhere, the only thing I think could have made it more intense would have been a fog machine.

The one thing I was anticipating the entire time throughout the show was the Porter’s scene that takes place just after Duncan’s murder. The Porter is there to add levity to the otherwise dark narrative and in my experience often goes overlooked when read or performed because as we all know ‘Shakespeare is a prestigious institution’. But I think a few lewd jokes after a murder has just taken place is quite necessary. I can honestly say that in this performance, the Porter’s scenes were some of my favourite moments. These scenes were the only point at which the script diverged from the original but it still captured the same humour of the source material. It again reminded me of a child, running about making jokes out of nothing and interjecting at inappropriate moments because they don’t know any better. 

So, despite the dark and tragic nature of Macbeth and the play itself I would have to say that this production did indeed make Shakespeare fun.

If you would like to read another review of ‘The Tragedy of Macbeth’, check out Grace Laidler’s piece on the Words Matter Blog: Grace Laidler: Macbeth Review for YISF – Words Matter. (yorksj.ac.uk)

The Annual Words Matter Lecture on YouTube

You might be interested to know that Dr Adam J Smith’s Words Matter lecture is available to view and listen on YouTube: click here!

Adam’s lecture in October last year considered the “uses” of literature as protest, propaganda and satire, and warned of the dangers of not reading the book. It was a fantastic event, so if you missed it, catch up – or if you’d like to relive the moment, watch again!

Grace is a first year Film and Television Production student at York St John and a volunteer blog reviewer for York International Shakespeare Festival. In this review, Grace looks at Flabbergast Theatre’s production of ‘The Tragedy of Macbeth’ performed in the York St John Creative Centre on the 26th of April 2023. 

Flabbergast Theatre’s ‘The Tragedy of Macbeth’ creates an unsettling yet powerful retelling of one of Shakespeare’s most violent tragedies, leaving you feeling unseam’d from the nave to the chops.

Before the audience are seated, the performers immediately plunge us into their unconventional methods, telling us the story of the tragedy through a series of interpretive dances and nonsensical sounds. Standouts from this prologue are the formation of hands used above Macbeth’s head to form a crown and the use of the long skirts pulled over the performers heads to create what looks like a ghost-like  being crawling eerily around the stage.

These long skirts are part of the barren, arresting aesthetic adopted by Flabbergast, reminiscent of Robert Eggers’ 2022 film ‘The Northman.’ The stage is dressed only with a stained white sheet on the floor. The simplicity of the set allows the performers to have a much creative freedom as possible to create a visceral show, as there is more than one instance when a wine-like substance is either spat onto the sheet or into the face of another performer.

Each cast member wears a pair of pants underneath the long skirts, allowing for them to effectively switch between characters seamlessly with minimal physical changes. As the performance only consisted of six performers, many performers doubled in roles. A standout for me was Briony O’Callaghan’s chilling performance as Lady Macbeth, but also as one of the Weird Sisters. Her demeanour when playing both roles did not differ too greatly, which I believe positively added to the notion of Lady Macbeth’s cruelty being witch-like. Her delivery of Lady Macbeth’s final soliloquy was impeccable, and I was holding my breath at the prospect of her holding a lit candle so close to a highly-flammable sheet.

Another standout performance was that of Dale Wylde, who transformed the tragedy into a pantomime with his performance as The Porter, the dreaded character of GCSE students everywhere. His take on The Porter saw him as a clown, who broke the fourth wall and brought us to tears of laughter by simply showing us an apple. However, one of the most profound and horrifying moments was when Wylde portrayed a soldier that had just brutally murdered Macduff’s wife, then immediately snaps back into becoming the joking Porter again. The apple was back, but the laughter was a lot shakier this time.

The performance incorporates plenty of horror elements, particularly with the lighting. There is a harsh front light that is used to brightly illuminate the faces of whoever is giving a monologue, making their faces look gaunt and hollow. It accentuates the madness seen in the eyes of Macbeth in particular, who is often lit by a bloody red lighting that makes him impossible to look away from. Alongside its effect on the performers, this front lighting creates a shadow on the black curtain behind the stage, creating a spooky, haunting element to the show that unsettles us even further.

The most horrifying element of all is the use of a wooden puppet boy, used to depict Banquo’s son Fleance. The prop has no head, which is instead depicted with a white mask, and is carried around the stage using a large wooden stick or is cradled in the arms of the performers. It is a fascinating choice to use such abstract puppetry and it certainly became a talking point for most audience members. The bottom line on that is that it needs to be seen to be believed.

The performance is accompanied by the use three large drums, a set of gongs and smaller chime instruments, which are all visibly noticeable on-stage. All of these instruments are utilised heavily, alongside an acapella-style score created by the performers. It is truly impressive how the performers can morph from actor to crew member, using their musical skills to make scenes more exciting and immersive.

Overall, Flabbergast’s ‘The Tragedy of Macbeth’ can take a while to get into due to its overwhelming nature, but once you are immersed, you will want to stay to the bloody end. It has everything you could want in a Shakespeare adaptation: enough fidelity to the original text so that you will understand the story and hear those wonderfully crafted lines; but also offers a fresh, modern twist through the use of horror elements, barren sets and highly unconventional props. I would recommend it, although you might sleep no more.

Works Cited

The Tragedy of Macbeth by W. Shakespeare (2023) Directed by H. Maynard [York St John University, York. 26 April].

The Northman (2022) Directed by R. Eggers. [Feature film]. Universal City, CA: Universal Pictures.

If you would like to read another review of ‘The Tragedy of Macbeth’, check out Jenny-Rose Morrison’s piece on the York International Shakespeare Festival’s website: Life’s But A Walking Shadow: A Review of Flabbergast’s Macbeth by Jenny-Rose Morrison – York International Shakespeare Festival (yorkshakes.co.uk)

Dr Saffron Vickers Walkling interviews Adam Kirkbride (he/they). Adam was the 2021 York St John Literature English Literature Undergraduate Dissertation Prize Winner AND the English Literature Undergraduate Programme Prize for achieving the highest degree classification marks in both categories on their programme. Adam has gone on to study on our MA in Contemporary Literature and is completing their second year of part-time study.

Adam, tell us a bit about yourself, what you are studying with us and why?

I’ve been at York St John since 2018 when I started my BA in English Literature. Finishing my degree during the pandemic and a lot of personal turbulence meant that I was unsure about what the future would bring. I’d thought about doing an MA for a while and several of the YSJ literature staff encouraged me to do one here, so I applied, and the rest is history! Now I’m in my final year of my MA in Contemporary Literature and I cannot believe that it’s been nearly five years since I arrived here.

Can you tell us about your awards and what they mean to you?

The awards I received on graduation meant more to me than I can express. My final year of undergraduate study was incredibly difficult due to a range of personal circumstances and knowing that I still managed to do well was an amazing feeling.

You are doing your MA as a part-time student. What have been the challenges of part-time study? What have been the benefits?

Truly, the main challenge and benefit has been the same: I get to work full-time in a job that I love alongside my studies. Working for a charity is very demanding, and so is post-graduate study! I don’t think I anticipated how difficult juggling full-time work and part-time study would be in reality, especially around deadlines. Avoiding burn-out has been a challenge. On the other hand, the MA here at YSJ is timetabled so classes are later in the evenings, meaning I can be flexible in my study and get to commit my 9-5 hours to my job working for Foundation UK in their +Choices (Positive Choices) service, and my evenings and weekends to my study. Continue reading “YSJ Lit Interview: Departmental Prizewinner Adam Kirkbride”