Andrew James Hartley

Curriculum Vitae

Department of Theatre

The University of North Carolina at Charlotte

9201 University City Boulevard.

Charlotte, NC 28223

704 687 2766

Fax: 704 687 3795

e-mail: ajhartle@uncc.edu

Educational Background

Ph.D. Dissertation, ” Boston University 1996:

“The Best Policy: Honesty and the Social Dynamics of Drama in the English Renaissance

M.A. Boston University 1993

B.A. Hons. Manchester University (England) 1987

Academic Employment

Distinguished Professor of Shakespeare, Department of theatre (University of North Carolina at Charlotte. Affiliate faculty member with English dept. 2005-present.

Director of Shakespeare in Action: the Center for the study of Shakespeare in Performance and Culture, University of North Carolina, Charlotte, 2007-present.

Assistant Professor of English, University of West Georgia, 1996-2000

Associate Professor of English, University of West Georgia, 2000-2005

Relevant Professional Experience

Editor of Shakespeare Bulletin, a journal of performance criticism and scholarship. 2003-present. (See Editorships)

Director, Shakespeare in Action Centre, UNC Charlotte.

Dramaturgical Consultant for the Georgia Shakespeare Festival 2003-present (See Professional Theatre Work)

Professional Contributions

1. Publications

Scholarship (books)

Julius Caesar, “Shakespeare in Performance” series, Forthcoming from Manchester University Press, 2011. Manuscript (currently one third complete) due summer 2010.

The Shakespearean Dramaturg: A Theoretical and Practical Guide for the Scholar in the Theatre, Palgrave/Macmillan (November 2005). Reviewed in The Year’s Work in English Studies, Theatre Journal, British Theatre Notes, Shakespeare Quarterly and the newsletter of the Literary Managers and Dramaturgs Association which made it the subject of a special feature.

Shakespeare Scripts series proposal to Blackwells (general editor with Cary Mazer): pending board approval.

Fiction (books)

What Time Devours, a novel about Shakespeare’s Love’s Labour’s Won (Forthcoming from Penguin Berkley, Jan 2009)

Act of Will, a novel (Forthcoming from Tor, Jan 2009)

On the Fifth Day, a novel. Penguin/Berkley in the USA and other publishers worldwide (July 2007). A USA Today and New York Times bestseller.

The Mask of Atreus. A novel. Penguin/Berkley in the USA and from other publishers in twenty languages worldwide (April 2006). A USA Today Bestseller.

My fiction is represented by Stacey Glick of Dystel and Goderich Literary Management. See www.ajhartley.net for further details, reviews and updates.

Scholarly Publications (peer-reviewed articles and chapters)

Chapter in The Routledge Companion To Actors' Shakespeare ed. John Russell Brown. Forthcoming 2010.

“Shakespeare and the place of the Stage” in The Edinburgh Companion to Shakespeare and the Arts, ed. Mark Thornton Burnett. (Edinburgh UP, 2010) Due Nov 09.

 “The Schrödinger effect: Reading and Misreading Performance,” Shakespeare Survey, 2009.

“Time Lord of Infinite Space: celebrity casting, Romanticism and British identity in the RSC’s ‘Doctor Who Hamlet’” Borrowers and Lenders: The Journal of Shakespeare and Appropriation. Forthcoming Dec 2008.

 “Staging Doctor Faustus” in New Critical Essays on Doctor Faustus (Continuum, 2009) ed. Sarah Deats. Due Oct 2008.

“Page and Stage Again: Rethinking Renaissance Character Phenomenologically.” New Directions for Renaissance Drama and Performance Studies, Ed. Sarah Werner. New York: Palgrave/Macmillan, 2008.

 “Character, Agency and the Familiar Actor,” in Theatrical Persons: Shakespearean Character and Shakespeare’s Characters. Edited by Paul Yachnin and Jessica Slights. Forthcoming from Palgrave 2008.

 “Remembering Actors: Embodied Shakespeare and the individual in the audience.” Special issue of Shakespeare Bulletin (“Watching Ourselves Watching Shakespeare” edited by Barbara Hodgdon and Peter Holland. Fall 2007.

“Prospera’s  Brave New World: Cross Casting The Tempest.” Shakespeare Re-Dressed: cross-gender casting in contemporary performance ed. James Bulman, (Fairleigh Dickinson University Press, 2008).

A study of Shakespeare’s sonnet 144 (3,000 words) for Student Companion to Shakespeare (Greenwood Press, Ed. J. Rosenblum, 2005).

“Sots and Snots: Constructing a Script and the Specter of Authenticity,” Theatre Topics 2001 Sept; 11 (2): 173-86.

“Philip Massinger’s The Roman Actor and the Semiotics of Censored Theatre.” ELH 2001 Summer; 68 (2): 359-76. 

“Social Consciousness: Spaces for Characters in The Spanish Tragedy.” Cahiers Elisabéthains: Late Medieval and Renaissance Studies, 2000 Oct; 58: 1-14.

“Staging the Ghost” a tutorial for the MIT Shakespeare Project (http://shea.mit.edu/ramparts99/tutorials/index.htm)

“Strutting and Fretting: Staging Shakespeare’s ‘Famous Bits’” Kennesaw Review Spring 2000. (http://www.mindspring.com/~bjhill/kr/krhome.htm)

“The Color of ‘Honesty’: Ethics and Courtly Pragmatism in Damon and Pithias.” Medieval and Renaissance Drama in England: An Annual Gathering of Research, Criticism and Reviews, 1999; 11: 88-113.

Publications (academic review articles)

“This Strange Eventful History,” in Medieval and Renaissance Drama in England: An Annual Gathering of Research, Criticism and Reviews December. 2007.

James Loehlin. Henry V in Performance. Medieval and Renaissance Drama in England, 2000.
Grace Tiffany, Erotic Beasts and Social Monsters. Medieval and Renaissance Drama in England Vol. 10 (1998)

Publications (academic reviews)

Revengers Tragedy (film, dir. Alex Cox). Shakespeare Bulletin, 22:4 (Winter 2004) 83-9.

Ripley, John Coriolanus on Stage in England and America 1609-1994, by John Ripley (Madison/Teaneck: Fairleigh Dickinson UP/Associated University Presses, 1998), Shakespeare Quarterly, Volume 53, Number 3, Fall 2002, pp. 388-390.

Judy Kronenfeld King Lear and the Naked Truth: Rethinking the Language of Religion and Resistance. Christianity and Literature (December 1999)

Thomas Middleton, A Mad World My Masters and other plays (World Classics Series) Seventeenth Century News  (1997)

Publications (nonacademic reviews)

Rene Weiss’s Shakespeare Decoded for Charlotte Observer (printed Nov 2007)

Townsend Center Production of Messages from Beyond by P. Depoy, dir. Deshpandee. Times Georgian, April 1998.

Publications (articles and chapters written as a novelist)

“Macbeth”: Chapter in The 100 Best Thrillers, forthcoming from ITW.

“Holding back the Years,” in How I Got Published--Famous Authors Tell You How in Their Own Words. F & W Publications (Fall 2007)

“Take your cues from Shakespeare” (written with Mary Bly). The Writer Magazine. Nov, 2006.

Screenplays

The following are unproduced but complete and represented by Sarah Self of the Gersh Agency:

Dixieland (Quarterfinalist at the Austin Film Festival, 2003)

Kitsune

Winging It

2. Editorships

Shakespeare Bulletin

Shakespeare Bulletin is a double blind peer-reviewed, quarterly journal of performance criticism and scholarship incorporating Shakespeare on Film Newsletter. I took over as editor of the journal in summer 2003 and have produced twenty one issues (21.3-26-4) in a new perfect-bound format: average contents are 3-5 articles, 2-3 book reviews and 20-25 theatre reviews per issue. Book reviews now focus solely on performance, we have expanded the range of our theatre reviews (both geographically and in terms of the kinds of productions reviewed) and have added new features such as the Hands on Shakespeare and Film Forum slots. We have devoted occasional issues to special topics with the work selected by guest editors, and have significantly expanded and internationalized the editorial board. As of January 2006, Shakespeare Bulletin has been published by Johns Hopkins University Press, with the current editorial staff (myself included) retaining their current roles. Subscriptions are up 400% since I took over.

3. Lectures and Presentations

A selection of Academic Conference presentations

“The Schrödinger effect and the (Mis?)reading of Performance.” Annual Meeting of the American Society for Theatre Research and the Theatre Library Association Boston, Massachusetts • 6–9 November 2008 

“Schrödinger’s Hermione: What can scholars learn from directors and what can directors learn from scholars?” seminar paper for John Russell Brown’s session: What can scholars learn from directors and what can directors learn from scholars?. Shakespeare Association of America, March 2008.

 “Performative Habitus: Shakespeare and the familiar actor,” World Shakespeare Congress, Brisbane Australia, July 2006.

Panel convener and moderator for paper session “the Scholar in the Rehearsal Room,” Shakespeare Association of America, April 2006 (Philadelphia). Presenters: Steven Urkowitz, Cary Mazer, Genevieve Love.

 “Prospera’s Brave New World: cross-cast oppression and the four-fold player in The Georgia Shakespeare Festival’s Tempest.” Shakespeare Association of America, April 2004.

Staging Shakespeare’s Contemporaries. Seminar leader, Shakespeare Association of America (Victoria, British Columbia), April 2003.

Troilus and Cressida (d. Audrey Stanly). A staged reading at the Shakespeare Association of America April 2002 (played Ajax and Paris).

“A meta-theatre of Cruelty: Staging The Revenger’s Tragedy.” Group for Early Modern Cultural Studies (New Orleans) November 2000.

“The Shakespearean Dramaturg and the Performance Script” Shakespeare Association of America (Montreal) April 2000.

Shakespeare Association of America (San Francisco) seminar leader: “Shakespeare Our Non- Contemporary: Literary Historicism and Contemporary Performance.” April 1999.

“This thing of darkness: a theatrical script for Beowulf” South Eastern Theatre Conference. April 1998

“Literary Historicism and Modern Performance: the instance of Ben Jonson’s Epicoene.” Shakespeare Association of America (Washington D.C.) March 1998

“Public/Private subjectivity and Renaissance Honesty” Shakespeare Association of America (Los Angeles) March 1997.

Invited Lectures and conference participation (a selection)

Key note speaker to Shakespeare performance conference at the University of Central Lancashire, UK, 2009 (pending approval of conference funding by British government and host institution)

Speaker. “If you have writ your annals true”: The third International Shakespeare and Performance Colloquium to be held at the University of Warwick, UK 22-26 April 2009.

Speaker on Shakespeare and Performance at the British Shakespeare Association meeting (September 2009)

Speaker on Shakespeare and Dramaturgy and the New Globe theatre, London (September 2009) (invitation from Farah  Karim-Cooper.)

Speaker on Shakespeare and performance, University of Georgia, Feb 2009 (invitation from Fran Teague)

Speaker on Shakespeare and my fiction, University of Syracuse, January 2009 (invitation from Dympa Callaghan)

Staging Shakespeare without Text. Mary Baldwin College, Staunton Virginia and the American Shakespeare Center (Sept 13-16th 2008)

 “On the Impossibility of Close-Reading Performance.” International Shakespeare Conference, Stratford (The Shakespeare Centre), UK. August 2008.

“Staging Doctor Faustus.” International Marlowe Conference, Canterbury  UK, July 2008.

Seminar respondent, Shakespeare Association of America (April 2007, San Diego) Reviewing Staged Shakespeare.

Participant in the Royal Shakespeare Company’s residence at Davidson College, notably:

“The Monsters and the Critics: How Performance Reviewers Think,” (a panel discussion) Davidson College, Feb 11^th 2007 and:

“Off the beaten Path: Shakespeare and Marlowe,” with Cynthia Lewis, at Davidson Public Library, January 22, 2007

“Remembering Actors: Embodied Shakespeare and Performative Habitus” Watching Ourselves Watching Shakespeare. Ann Arbor, MI performance conference in tandem with RSC residency.

“Shakespeare’s plays within the plays.” High Point, NC Shakespeare Festival, 24^th Sept 2006.

“Bodily Imminence: Staging The Revenger’s Tragedy.” Boston University’s Willing Suspension conference (Mar 17^th 06). Willing Suspension Productions is the company I founded in 1993.

“Staging Thomas Middleton” at a specially convened session on Staging the Renaissance (April 2003, UGA, Athens).

 “The state of performance criticism: where are we today and where are we headed?” (Seminar Respondent). Shakespeare Association of America, April 2001.

 “King Lear and the Problem of History.” Soulstice Theatre (Seven Stages, Atlanta) March 2000

February 2000 “Sots and Snots: the Shakespearean Performance Script and the Spectre of Authenticity,”  University of Alabama’s Hudson Strode Symposium

Campus colloquia/symposia

Learning about Shakespeare Through Performance: a colloquium event (Feb 2008). Organizer/moderator.

“The Merits of the Multidisciplinary approach to Research,” part of a forum organized by UNC CHARLOTTE’s Graduate History Association. (March 2007). Roundtable panelist.

Facing Prospero, a public discussion by three actors who have played the lead in Shakespeare’s The Tempest, in tandem with campus production. April 2006

Keynote Speaker at UNC CHARLOTTE English Dept Graduate Conference. Paper title: “Bridging Genre and History: a phenomenology of Renaissance character.” (Jan 26^th, 2006)

“Shakespeare, Jewishness and The Merchant of Venice.” A colloquium in tandem with the Actors from the London Stage campus residency. February 2006. Organizer/moderator.

Introductory lecture, “Shakespeare and Music” prior to Ensemble Chaconne’s Measure for Measure, a concert of Music from Shakespeare’s Plays (UNC CHARLOTTE, November 12th, 2005).

“Shakespeare in Performance” West Georgia International Colloquium. October 1997 (presenter)

Presentations and appearances as a Fiction Writer

Faculty Member for South Carolina Writers Workshop Conference (Oct 2008)

Presenter on Mystery Panel, South Carolina Book Festival, March 2008.

Thrillerfest (July 12^th-15^th 2007, New York): presenter on “The Dark Frontier” panel, and subsequent book signing.

Southern Independent Booksellers Association: guest author sponsored by Berkley/Penguin. Atlanta. September 28-30 2007. Presenter at Moveable Feast. (Sept 30^th) and signing with Mystery writers of America (Sept 29^th).

Lecture with Mary Bly (Eloisa James) “Shakespeareans writing genre Fiction,” Borders Books, Philadelphia. (April 15, 2006)

Numerous bookstore signings. See www.ajhartley.net for details.

4. Theatre Work

Professional Theatre Work

As dramaturg for the Georgia Shakespeare Festival (now Georgia Shakespeare) I prepared the performance script with the director, supplied relevant research to the company, worked with the actors throughout the rehearsal process, gave lectures and pre-show presentations, wrote program notes and pieces for high school study guides, and was a participant in post-show “epilogue” discussions for all productions to which I was attached. I was made the company’s Resident Dramaturg in Spring 04. Since moving to UNCC my dramaturgical work has become primarily consultancy and the mentoring of student dramaturgs from here and West Georgia who have gone on to work professionally at Georgia Shakespeare.

Consultant Dramaturg for Georgia Shakespeare’s Romeo and Juliet (Fall 05)

Dramaturg for the Georgia Shakespeare Festival’s The Comedy of Errors (Summer 05)

Dramaturg for the Georgia Shakespeare Festival’s Macbeth (dir. Fracher) fall 04

Dramaturg for the Georgia Shakespeare Festival’s The Tempest (dir. Garner) fall 2003

Dramaturg for the Georgia Shakespeare Festival’s Cymbeline (dir. Keystone) summer 2003

Dramaturg for the Georgia Shakespeare Festival’s The Taming of the Shrew (dir. Garner) Fall 2002.

Director of a staged reading of Fletcher’s The Tamer Tamed or The Woman’s Prize, Oct 2002.

Organized and led GSF’s Middleton Symposium (March 30-April 1, 2001), a weekend of lectures and readings from prominent Renaissance scholars in the field of Middleton studies.

Assistant Director for Georgia Shakespeare Festival’s The Winter’s Tale (dir. Garner) Summer 2000.

 Dramaturg for Georgia Shakespeare Festival’s Julius Caesar (dir. Dillon) Fall 2001.

Dramaturg for the Georgia Shakespeare Festival’s A Midsummer Night’s Dream (dir. Garner) Fall 2000.

Assistant Director/Dramaturg for Georgia Shakespeare Festival’s Twelfth Night (dir. Epstein) Summer 2000.

Assistant Director/Dramaturg for Georgia Shakespeare Festival’s Comedy of Errors (dir. Epstein) Summer 1999.

Dramaturg for Theatre Emory’s production of Sebastian Barry’s Boss Grady’s Boys (dir. O’Reilly) November 1998.

Dramaturg for Georgia Shakespeare Festival’s Macbeth (dir. Briggs) Fall 1998.

Dramaturg for Georgia Shakespeare Festival’s The Miser (dir. Epstein) Summer 1998
 

Campus Theatre Work (student productions). See Instructional Contributions.

 

5. Interviews and broadcasts

Interviewed for cover story (with Kathy Reichs) by Mark de Castrique in Exchange: the magazine for UNC CHARLOTTE’s College of Arts and Sciences (December 2007).

Podcast “Shakespeare in Charlotte,” hosted by the Public Library of Charlotte and Mecklenberg County. http://208.185.78.171/launcher.cgi?room=plcmc_Test_2008_0205_0945_49

Diego Mulligan show, KSFR-FM Santa Fe public radio (August 15^th 2007).

Don Russell show, Charlotte WBT 1110 (August 8^th 2007)

Don Russell show, Charlotte WBT 1110 (July 19^th 2007)

Interviewed for feature story in Charlotte Observer by Jeri Krentz. Story ran as “UNC CHARLOTTE Professor professes his love of writing thrillers” (July 15^th, 2007).

Instructional Contributions

Classes taught at UNC Charlotte

Sarah Brew Honors Thesis (Committee chair) and Children’s Theatre internship (Evaluator) (Spring 08)

Late Shakespeare (Fall 2007)

Performing Shakespeare [Hons] (Fall 2007)

Shakespeare in England (Study Abroad course, summer 2007)

Renaissance Theatre History (Spring 2007)

Matthew Ross Screenwriting (graduate student independent study) (Spring 2007)

Screen Writing (Fall 2006)

Shakespearean dramaturgy (Spring 2006)

Renaissance Revenge Tragedy (Spring 2006) Graduate Seminar.

Staging Shakespeare (Fall 2005)

Campus Theatre Work (student productions)
Director, The Tragical History of Doctor Faustus, UNC CHARLOTTE April 2007

Dramaturg, The Tempest (dir. Vesce) UNC CHARLOTTE April 2006

Director, Krapp’s Last Tape for the English/Theatre departments’ An Evening with Samuel Beckett (December 1999) University of West Georgia

Director, Shakespeare’s Twelfth Night for UWG’s Theatre Company at the McIntosh Reserve (Summer 1998)  University of West Georgia

Director, Ben Jonson’s Epicoene for UWG’s Theatre Company at the Townsend Center (April 1997) University of West Georgia

Established Willing Suspension Productions in Boston, a company dedicated to the staging of non-Shakespearean Renaissance drama. For them I directed complete, main-stage productions of The Revenger’s Tragedy (1993), The Alchemist (1994), The Spanish Tragedy (1995) and A Chaste Maid in Cheapside.(1996)

Teaching awards

Winner University of West Georgia Honors Professor of the Year 2001-2 (also nominated for 1999-2000 award)

Service

1. Professional service

Shakespeare Bulletin (see Editorships)

Shakespeare Association of America Program Committee member (for 2010 conference)

Also, as editor of Shakespeare Bulletin convener of staged reading series at SAA’s annual conference:

No Wit, No Help Like a Woman’s (Thomas Middleton), April 5^th 2007.

Doctor Faustus (Christopher Marlowe, 1604 Text). April 13^th 2006

The Four Prentices of London (Thomas Heywood) April 11^th 2005

Love’s Cure (Beaumont and Fletcher) April 9^th 2004

Submission Reader: PMLA (2006)

Submission Reader for Shakespeare: the journal of the British Shakespeare Association (2008)

External reader for Colorado College’s tenure review of an Assistant professor of Shakespeare (2007)

External reader grant proposal concerning a study of Shakespeare in performance for the Social Sciences

                and Humanities Research Council of Canada. (2007)

2. University (UNC Charlotte Committee)

College of Liberal Arts and Sciences promotion and review committee (CRC) 2008-9

Foreign Languages and Culture Chair Search Committee 2006-7

3. Theatre Department

Dance and Theatre Reappointment, Promotion and Tenure committee 2005-present (Chair 2005-6)

Student Assessment committee 2007-present

Theatre Area head, 2006-7

Dramaturg for campus productions

Other Campus Service

Lecture and staging of scenes (with student actors) from Twelfth Night and Henry V. COAS Advisory board meeting. October 2007.

“Holding the Mirror up to Nature,” a presentation on staging Shakespeare incorporating student actors for the Arts and Science Council fund-drive kick off, Feb 6^th 2007.