Programme

The 4th Asian Shakespeare Association Conference will be held at Daeyang AI Center, Sejong University. The details of plenary and parallel sessions will be announced on 1 September 2020.
Time 5 Nov (Thurs) 6 Nov (Fri) 7 Nov (Sat)
8:00 On-site Registration    
 
9:00 Opening Ceremony Plenary Session C Plenary Session D
  Plenary Session A
10:00 Coffee Break Coffee Break
  Coffee Break Roundtable Discussion Paper Presentations
Panel 7, 8, 9
11:00 Plenary Session B
 
12:00 Lunch Break Lunch Break Lunch Break
 
13:00
  Paper Presentations
Panel 1, 2, 3
Paper Presentations
Panel 4, 5, 6
Paper Presentations
Panel 10, 11, 12
14:00
 
15:00 Coffee Break Coffee Break Coffee Break
  Seminar 1, 2, 3 Seminar 4, 5, 6 Panel 13
Workshop 4
16:00
 
17:00   Workshop 1, 2, 3 General Assembly
 
18:00 Committee Meeting Closing Ceremony
Awarding Ceremony &
Conference Dinner
     
19:00 Performance 1 Performance 2
 
20:00
       
All-Day The 3rd Graphic Shakespeare Competition
Korean Shakespeare: 100 Years of History
Performance 3

Workshops & Performances
There will be workshop programmes and performances. These are open only to those who registered. You can also register on-site at the reception.

Workshop 1
Kissing Romeo and Juliet: SCHakespeare VR Project
(by Hyon-u Lee, Jung-ki Kim, Mi-sun Yun, Dong-min Kim, Young-soo Lee)

“SCHakespeare VR Project,” which is supported by Soon Chun Hyang University in South Korea, aims to produce Shakespeare VR interactive content that is directed towards educating the user in Shakespearean language and acting. The first in the series is Romeo and Juliet. At the Asian Shakespeare Conference workshop, the audience will be able to experience the pilot version of this “SCH Romeo and Juliet VR” and, in addition, “SCH Romeo and Juliet MR,” which adapts the characters and graphic assets of the VR content to an AR performance of the play.

In the pilot version of “SCH Romeo and Juliet VR,” the first encounter between Romeo and Juliet is set as the goal to be achieved through the participant’s interactive play with VR media. In the single participant option, the player can play either Romeo or Juliet with the partner character as an NPC (non-player character). In the duo participant option, the player can play either Romeo or Juliet with the other participant playing the partner character. There are missions the player must complete step by step in order to reach the stage where the two characters exchange their words, touch, and, finally, kiss.

Performance 1
Othello by The Flow Theatre (1 hour 30 min.)

The colour white expresses innocence in this performance, which utilizes white cloth to stage the theme of Othello: how a man who was admired as a hero becomes a fragile man who suffers from his own conflict between faith and doubt toward his wife.

Othello asks Desdemona to keep the white handkerchief carefully since he believes that the white cloth signifies purity and chastity. White cloth on the stage symbolises the white handkerchief, which causes the conflicts between Desdemona and Othello. When Othello realises that he has been fooled by Iago, the cloth remains as a dark shadow lingering around Othello, who now has to pay for what he has done. In this adaptation, there is a performance of salpurichum (traditional Korean exorcism dance), and the cloth is used to express the emotional flow of the main character.

Performance 2
The Merry Wives of Seoul by EDP Theatre Company (1 hour)

“Soon Chun Hyang University English Drama Club's joyful and never too serious The Merry Wives of Seoul is a new adaptation of The Merry Wives of Windsor, Shakespeare's comedy of love and marriage, told through a confection of beautiful costumes and stunning physicality. The juxtaposition of effortlessly impressive K-Pop dance and traditional dress is great fun, as are the unexpected song choices. The best surprise appears right at the start and continues to please throughout: a Falstaff with the physical features and idiosyncrasies of a certain world leader, enough to be unmistakable but not so overt as to be a caricature. The commitment to every role and love for drama is clear from beginning to end, as is the attention to detail in every aspect.” (Caitlin A. Kearney)

Performance 3
Pericles (Film) by The Yohangza Theatre Company (2 hours 35 min.)

“Director Yang Jung-Ung emphasized the contemporaneity of the play with modern and cosmopolitan costumes, music and dances. The imagistic stage was very impressive, too. The 30m depth stage covered with 50t of sand created the image of sea and island. The gigantic statue of Diana's head, which was laid down sideway on the stage left, expressed the precarious deity. The huge images of a compass and a moon, which were alternatively projected on the back screen of the stage, gave a proper background to Pericles, who wanders from place to place. Gower, who led the whole play as a narrator, was transformed into old Pericles.” (Performance Shakespeare 2016)

The 3rd Graphic Shakespeare Competition
There will be an exhibition and award ceremony for the 3rd Graphic Shakespeare Competition at Daeyang AI Center on 7 November.
The winner of the 2nd GSC, Kathryn Martin’s adaptation of the opening monologue from Richard III.
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