We a re p le a s e d t o a nno unc e t ha t Sha ke s p e a re The
Ne xt
400
Ye a rs
will
ho ld
Gra p hic
Sha ke s p e a re c o m p e t it io n.
Els in o re Co n f e re n c e
2016
S h a ke s p e a re – Th e Ne x t 4 0 0 Ye a rs
2 2 - 2 4 Ap ril, 2 0 1 6
Kro nb o rg Ca s t le , He ls ing ø r, De nm a rk
Du rin g h is lif e t im e Willia m S h a ke s p e a re w a s a lre a d y b e in g h a ile d
a s t h e g re a t e s t w rit e r o f h is d a y , a n d t h e in t e rv e n in g 4 0 0 y e a rs
h a v e o n ly in c re a s e d h is re p u t a t io n . No o t h e r lit e ra ry f ig u re h a s
a f f e c t e d w o rld c u lt u re s o p ro f o u n d ly , o r h a s h a d s u c h a
w id e s p re a d in f lu e n c e o n o t h e r t h in ke rs a n d a rt is t s . Willia m
S h a ke s p e a re is t h e m o s t u n iv e rs a lly re c o g n is e d , c u lt u ra lly ic o n ic
f ig u re in t h e w o rld . Bu t w h y ?
ht t p :/ / t e e s .a c .uk/ e ls ino re /
1
Graphic Shakespeare competition The c o m p e t it io n will ha ve t wo s e c t io ns .
1 . Fa m o us Sc e ne s in fo ur p a g e s s e c t io n: e nt ra nt s a re t o c ho o s e o ne
s c e ne o ut o f five fa m o us s c e ne s d e s ig na t e d b y t he o rg a niz ing t e a m o f
Gra p hic Sha ke s p e a re c o m p e t it io n.
2 . Cho o s e t he wo rk/ s c e ne s o n yo ur o wn: e nt ra nt s a re t o c ho o s e t he
wo rk / s c e ne s t he ir g ra p hic a d a p t a t io n is t o b e b a s e d o n; t he y c a n a ls o
c ho o s e ho w lo ng t he ir wo rk will b e .
If yo u wo uld like t o p a rt ic ip a t e in t he 1 s t s e c t io n ( Fa m o us Sc e ne s in fo ur
p a g e s s e c t io n) , p le a s e g o t o p .4 .
If yo u wo uld like t o p a rt ic ip a t e in t he 2 nd s e c t io n ( Cho o s e t he wo rk/ s c e ne s
o n yo ur o wn s e c t io n) , p le a s e g o t o p . 1 3 .
2
1 . Fa m o us s c e ne s in ( up t o ) fo ur p a g e s s e c t io n
Te nt a t ive s c he d ule
1 . Feb .1 , 2 0 1 6 : e nt ry fo r p a rt ic ip a t io n.
2 . Fe b .2 8 , 2 0 1 6 : s ub m is s io n d e a d line .
3 . Ap ril 2 4 , 2 0 1 6 : c e re m o ny fo r t he fina lis t s a nd t he winne r.
Cho o s e o ne o f t he fo llo wing s c e ne s a nd re -c re a t e Sha ke s p e a re ’s p la ys in
g ra p hic fo rm a t s . Fo r e xa m p le , Ha rum o Sa na z a ki, o ne o f t he jud g e s in t his
g ra p hic Sha ke s p e a re c o m p e t it io n, c re a t e d he r m a ng a a d a p t a t io n o f
Ro m e o and Julie t fro m t he vie wp o int o f J ulie t ’s m o t he r.
Exa m p le : Ha rum o Sa na z a ki’s Ro m e o and Julie t
Ple a s e re a d t he g ra p hic s fro m rig ht t o le ft .
3
The s t yle c o uld b e in g ra p hic no ve l s t yle , Am e ric a n c o m ic s s t yle , m a ng a ,
s ho ne n-m a ng a , s ho ujo -m a ng a , fo ur-p a ne l, b a nd e d e s s ine e , o r illus t ra t io n,
a s yo u c ho o s e .
Yo u m a y us e Sha ke s p e a re ’s a b rid g e d t e xt q uo t e d b e lo w, o r yo u c a n
a b rid g e it furt he r, o r yo u c a n us e o rig ina l in full, o r yo u c a n m o d e rniz e
Sha ke s p e a re ’s la ng ua g e , o r yo u c a n g ive t he t e xt in yo ur o wn la ng ua g e ( in
t his c a s e , p le a s e p ro vid e s im p le e xp la na t io n in Eng lis h) , o r yo u c a n d o
wit ho ut wo rd s s o fa r a s yo ur im a g e s c a n t e ll t he s t o ry.
The e nt rie s s ho uld b e s ub m it t e d d ig it a lly --- yo u c a n c re a t e yo ur wo rk o n
p a p e r firs t a nd t he n s c a n it , o r yo u c a n c re a t e yo ur wo rk d ig it a lly.
The e nt rie s c a n b e e it he r in b la c k-a nd -whit e o r in c o lo urs .
Pa p e r s iz e --- A4 .
Ple a s e s ub m it yo ur wo rk e it he r a jp g o r a p d f 3 0 0 d p i --- o ne p a g e ( A5 ) in
1 7 4 8 p x × 2 4 8 0 p x, 2 p a g e s p re a d ( A4 ) in 3 4 9 6 p x×2 4 8 0 .
Guid a nc e a b o ut ‘ho w t o s ub m it ’ is t o b e a nno unc e d la t e r.
Firs t o f a ll, p le a s e le t us kno w b y F e b . 1 , 2 0 16 if yo u int e nd t o p a rt ic ip a t e
in t he c o m p e t it io n b y writ ing t o yuka riyo s hiha ra @g m a il.c o m ( Yuka ri
Yo s hiha ra ) , wit h s ub je c t t it le “Gra p hic Sha ke s p e a re c o m p e t it io n”.
The d e a d line fo r s ub m is s io n is p la nne d t o b e s e t o n Fe b . 2 8 , 2 0 1 6 .
The jud g e t e a m c o ns is t s o f re no wne d c o m ic s / m a ng a s p e c ia lis t s , inc lud ing
Ha rum o Sa na z a ki, who ha s c re a t e d fo ur m a ng a Sha ke s p e a re a d a p t a t io ns
( yo u c a n find s a m p le p a g e s o f he r a d a p t a t io n o f Mid s um m e r Nig ht ’s
Dre am b e lo w) .
4
Em m a Ha yle y, Ma na g ing Dire c t o r a nd Pub lis he r o f Se lfMa d e He ro ( o f Ma ng a
Sha ke s p e a re Se rie s ) .
It is p la nne d t ha t t he e nt rie s is t o b e e xhib it e d d ig it a lly a t t he Els ino re
c o nfe re nc e ve nue ( Els ino re Ca s t le ) . Mo re d e t a ils t o b e up d a t e d .
Ent ra nt s will b e jud g e d o n t he fo llo wing c rit e ria .
t he a rt wo rk
t he a b ilit y t o t e ll a s t o ry t hro ug h im a g e s .
The c o nfe re nc e is p la nne d t o ha ve a s e m ina r o n Gra p hic Sha ke s p e a re s .
Yo u a re c o rd ia lly invit e d t o
p a rt ic ip a t e in t he s e m ina r a s we ll. CFP fo r t he
s e m ina r runs a s fo llo ws :
Graphic Shakespeares
The goal of this seminar is to explore various forms of Shakespeare’s
works made into graphic formats, including four-panel comic strip,
illustrated books, graphic novels, comics, bande desinee, anime, manga
and others. We have Classics Illustrated Shakespeare, De Lucca’s Hamlet,
SelfMadeHero’s celebrated Manga Shakespeare Series, Romeo X Juliet,
Psycho-pass, you name it. Some of them could be fairly close to the
original, others could be slap stick comedies. What are these graphic
Shakespeares doing to cultural authority of Shakespeare? Are they
butchering his works? Or are they opening up another possibilities for
Shakespeare’s works for the next 400 years?
Please
send
the
initial
abstracts
of
150-200
words
to
[email protected] by 1 February 2016.
5
1 -1 A
Mid s um m e r
Tra ns fo rm a t io n
Nig ht ’s
Dre am :
Exa m p le : Ha rum o ’s Mid s um m e r Nig ht ’s Dre am .
Bo t t o m ’s
The e xa m p le is s ho wn
in t wo p a g e s , b ut t he e nt ra nt s c a n ha ve fo ur p a g e s .
Pa g e 1
6
e xc e rp t
TITANIA
[ Awa king ] [ t o Bo t t o m wit h a n a s s ’s he a d ] Wha t a ng e l wa ke s m e fro m m y
flo we ry b e d ? . . . .
On t he firs t vie w t o s a y, t o s we a r, I lo ve t he e .
BOTTOM
Me t hinks , m is t re s s , yo u s ho uld ha ve lit t le re a s o n
fo r t ha t : a nd ye t , t o s a y t he t rut h, re a s o n a nd
lo ve ke e p lit t le c o m p a ny t o g e t he r no w-a -d a ys .
TITANIA
Tho u a rt a s wis e a s t ho u a rt b e a ut iful. . . .
I a m a s p irit o f no c o m m o n ra t e ;. . . .
I d o lo ve t he e : t he re fo re , g o wit h m e ;
I' ll g ive t he e fa irie s t o a t t e nd o n t he e . . . .
7
1-2
Romeo and Juliet: the Balcony Scene
Exc e rp t
JULIET
O Ro m e o , Ro m e o ! whe re fo re a rt t ho u Ro m e o ?
De ny t hy fa t he r a nd re fus e t hy na m e ;. . .
I' ll no lo ng e r b e a Ca p ule t . . . .
' Tis b ut t hy na m e t ha t is m y e ne m y. . . .
Wha t ' s in a na m e ? t ha t whic h we c a ll a ro s e
By a ny o t he r na m e wo uld s m e ll a s s we e t . . . .
Ro m e o , d o ff t hy na m e . . . .
ROMEO
Ca ll m e b ut lo ve , a nd I' ll b e ne w b a p t iz e d ;
He nc e fo rt h I ne ve r will b e Ro m e o . . . .
Wit h lo ve ' s lig ht wing s d id I o ' e r-p e rc h t he s e wa lls . . . .
ROMEO
La d y, b y yo nd e r b le s s e d m o o n I s we a r
Tha t t ip s wit h s ilve r a ll t he s e fruit -t re e t o p s -JULIET
8
O, s we a r no t b y t he m o o n, t he inc o ns t a nt m o o n,
Tha t m o nt hly c ha ng e s in he r c irc le d o rb ,
Le s t t ha t t hy lo ve p ro ve like wis e va ria b le .
1 -3
Mac b e t h: t he Thre e Wit c he s
Exc e rp t
ACT I
SCENE I. A d e s e rt p la c e .
Thunder and lightning. Enter three Witches
Firs t Wit c h
Whe n s ha ll we t hre e m e e t a g a in
In t hund e r, lig ht ning , o r in ra in?
S e c o n d Wit c h
Whe n t he hurlyb urly' s d o ne ,
Whe n t he b a t t le ' s lo s t a nd wo n.
Th ird Wit c h
Tha t will b e e re t he s e t o f s un.
Firs t Wit c h
Whe re t he p la c e ?
S e c o n d Wit c h
Up o n t he he a t h.
Th ird Wit c h
The re t o m e e t wit h Ma c b e t h.
9
Firs t Wit c h
I c o m e , Gra ym a lkin!
S e c o n d Wit c h
Pa d d o c k c a lls .
Th ird Wit c h
Ano n.
ALL
Fa ir is fo ul, a nd fo ul is fa ir:
Ho ve r t hro ug h t he fo g a nd filt hy a ir.
Exe unt
1 -4
Ham le t : t he nunne ry s c e ne
Exc e rp t
HAMLET
a re yo u ho ne s t ? . . . Are yo u fa ir? . . . if yo u b e ho ne s t a nd fa ir,
yo ur ho ne s t y s ho uld a d m it no d is c o urs e t o yo ur b e a ut y. . . .I d id lo ve yo u
o nc e .
OPHELIA
Ind e e d , m y lo rd , yo u m a d e m e b e lie ve s o .
HAMLET
Yo u s ho uld no t ha ve b e lie ve d m e . . . I lo ve d yo u no t .
OPHELIA
I wa s t he m o re d e c e ive d .
HAMLET
Ge t t he e t o a nunne ry: why wo uld s t t ho u b e a b re e d e r o f
s inne rs ? I a m m ys e lf ind iffe re nt ho ne s t ; b ut ye t I c o uld a c c us e m e o f s uc h
t hing s t ha t it
we re b e t t e r m y m o t he r ha d no t b o rne m e . . . . We a re a rra nt kna ve s , a ll;
b e lie ve no ne o f us . Go t hy wa ys t o a nunne ry. . . .
OPHELIA
O, he lp him , yo u s we e t he a ve ns !
HAMLET
. . . .Ge t t he e t o a nunne ry, g o : fa re we ll. Or, if t ho u wilt ne e d s
m a rry, m a rry a fo o l; fo r wis e m e n kno w we ll e no ug h wha t m o ns t e rs yo u
m a ke o f t he m . To a nunne ry, g o , a nd q uic kly t o o . Fa re we ll.
OPHELIA
O he a ve nly p o we rs , re s t o re him !
10
HAMLET
I ha ve he a rd o f yo ur p a int ing s t o o , we ll e no ug h; Go d ha s g ive n
yo u o ne fa c e , a nd yo u m a ke yo urs e lve s a no t he r. . . . I s a y, we will ha ve no
m o re m a rria g e s :
t ho s e t ha t a re m a rrie d a lre a d y, a ll b ut o ne , s ha ll live ; t he re s t s ha ll ke e p a s
t he y a re . To a
nunne ry, g o .
OPHELIA
Exit
O, wha t a no b le m ind is he re o ' e rt hro wn!. . . . q uit e , q uit e
d o wn!
And I, o f la d ie s m o s t d e je c t a nd wre t c he d . . . . O, wo e is m e ,
To ha ve s e e n wha t I ha ve s e e n, s e e wha t I s e e !
1-5 Twelfth Night: Orsino vs. Cesario (Viola)
Exc e rp t
VIOLA
Sa y t ha t s o m e la d y, a s p e rha p s t he re is ,
Ha t h fo r yo ur lo ve a g re a t a p a ng o f he a rt
As yo u ha ve fo r Olivia : yo u c a nno t lo ve he r;
Yo u t e ll he r s o ; m us t s he no t t he n b e a ns we r' d ?
DUKE ORS INO
The re is no wo m a n' s s id e s
Ca n b id e t he b e a t ing o f s o s t ro ng a p a s s io n
As lo ve d o t h g ive m y he a rt ; no wo m a n' s he a rt
So b ig , t o ho ld s o m uc h. . . .
VIOLA
Ay, b ut I kno w--. . . . To o we ll wha t lo ve wo m e n t o m e n m a y o we :
In fa it h, t he y a re a s t rue o f he a rt a s we .
11
My fa t he r ha d a d a ug ht e r lo ve d a m a n,
As it m ig ht b e , p e rha p s , we re I a wo m a n,
I s ho uld yo ur lo rd s hip .
DUKE ORS INO
And wha t ' s he r his t o ry?
VIOLA
A b la nk, m y lo rd . She ne ve r t o ld he r lo ve ,
But le t c o nc e a lm e nt . . . :, s he p ine d in t ho ug ht , . . .
She s a t like p a t ie nc e o n a m o num e nt ,
Sm iling a t g rie f. Wa s no t t his lo ve ind e e d ?
We m e n m a y s a y m o re , s we a r m o re : b ut ind e e d
Our s ho ws a re m o re t ha n will; fo r s t ill we p ro ve
Muc h in o ur vo ws , b ut lit t le in o ur lo ve .
DUKE ORS INO
But d ie d t hy s is t e r o f he r lo ve , m y b o y?
VIOLA
I a m a ll t he d a ug ht e rs o f m y fa t he r' s ho us e ,
And a ll t he b ro t he rs t o o : a nd ye t I kno w no t .
Sir, s ha ll I t o t his la d y [ Olivia ] ?
2 . Cho o s e t he wo rk/ s c e ne s o n yo ur o wn: e nt ra nt s a re t o c ho o s e t he
wo rk / s c e ne s t he ir g ra p hic a d a p t a t io n is t o b e b a s e d o n; t he y c a n a ls o
c ho o s e ho w lo ng t he ir wo rk will b e .
Te nt a t ive s c he d ule
1 . De c .2 0 , 2 0 1 5 : e nt ry fo r p a rt ic ip a t io n.
2 . Fe b .2 8 , 2 0 1 6 : s ub m is s io n d e a d line .
3 . Ap ril 2 4 , 2 0 1 6 : c e re m o ny fo r t he fina lis t s a nd t he winne r.
The s t yle c o uld b e in g ra p hic no ve l s t yle , Am e ric a n c o m ic s s t yle , m a ng a ,
s ho ne n-m a ng a , s ho ujo -m a ng a , fo ur-p a ne l, b a nd e d e s s ine e , o r illus t ra t io n,
a s yo u c ho o s e .
12
Yo u m a y us e Sha ke s p e a re ’s a b rid g e d t e xt q uo t e d b e lo w, o r yo u c a n
a b rid g e it furt he r, o r yo u c a n us e o rig ina l in full, o r yo u c a n m o d e rniz e
Sha ke s p e a re ’s la ng ua g e , o r yo u c a n g ive t he t e xt in yo ur o wn la ng ua g e ( in
t his c a s e , p le a s e p ro vid e s im p le e xp la na t io n in Eng lis h) , o r yo u c a n d o
wit ho ut wo rd s s o fa r a s yo ur im a g e s c a n t e ll t he s t o ry.
The e nt rie s s ho uld b e s ub m it t e d d ig it a lly --- yo u c a n c re a t e yo ur wo rk o n
p a p e r firs t a nd t he n s c a n it , o r yo u c a n c re a t e yo ur wo rk d ig it a lly.
The e nt rie s c a n b e e it he r in b la c k-a nd -whit e o r in c o lo urs .
Pa p e r s iz e --- A4 .
Ple a s e s ub m it yo ur wo rk e it he r a jp g o r a p d f 3 0 0 d p i --- o ne p a g e ( A5 ) in
1 7 4 8 p x × 2 4 8 0 p x, 2 p a g e s p re a d ( A4 ) in 3 4 9 6 p x×2 4 8 0 .
Guid a nc e a b o ut ‘ho w t o s ub m it ’ is t o b e a nno unc e d la t e r.
Firs t o f a ll, p le a s e le t us kno w b y Feb .1 , 2 0 16 if yo u int e nd t o p a rt ic ip a t e
in t he c o m p e t it io n b y writ ing t o yuka riyo s hiha ra @g m a il.c o m ( Yuka ri
Yo s hiha ra ) , wit h s ub je c t t it le “Gra p hic Sha ke s p e a re c o m p e t it io n”.
The d e a d line fo r s ub m is s io n is p la nne d t o b e s e t o n Fe b . 2 8 , 2 0 1 6 .
The jud g e t e a m c o ns is t s o f re no wne d c o m ic s / m a ng a s p e c ia lis t s , inc lud ing
Ha rum o Sa na z a ki, who ha s c re a t e d fo ur m a ng a Sha ke s p e a re a d a p t a t io ns
( yo u c a n find s a m p le p a g e s o f he r a d a p t a t io n o f Mid s um m e r Nig ht ’s
Dre am b e lo w) .
Em m a Ha yle y, Ma na g ing Dire c t o r a nd Pub lis he r o f Se lfMa d e He ro ( o f Ma ng a
Sha ke s p e a re Se rie s ) .
It is p la nne d t ha t t he e nt rie s is t o b e e xhib it e d d ig it a lly a t t he Els ino re
c o nfe re nc e ve nue ( Els ino re Ca s t le ) . Mo re d e t a ils t o b e up d a t e d .
13
Ent ra nt s will b e jud g e d o n t he fo llo wing c rit e ria .
t he a rt wo rk
t he ir a b ilit y t o t e ll a s t o ry t hro ug h im a g e s .
The c o nfe re nc e is p la nne d t o ha ve a s e m ina r o n Gra p hic Sha ke s p e a re s .
Yo u a re he a rt ily p a rt ic ip a t e in t he s e m ina r a s we ll. CFP fo r t he s e m ina r
runs a s fo llo ws :
Graphic Shakespeares
The goal of this seminar is to explore various forms of Shakespeare’s
works made into graphic formats, including four-panel comic strip,
illustrated books, graphic novels, comics, bande desinee, anime, manga
and others. We have Classics Illustrated Shakespeare, De Lucca’s Hamlet,
SelfMadeHero’s celebrated Manga Shakespeare Series, Romeo X Juliet,
Psycho-pass, you name it. Some of them could be fairly close to the
original, others could be slap stick comedies. What are these graphic
Shakespeares doing to cultural authority of Shakespeare? Are they
butchering his works? Or are they opening up another possibilities for
Shakespeare’s works for the next 400 years?
Please
send
the
initial
abstracts
of
150-200
words
to
[email protected] by 1 February 2016.
14