Recreational Shakespeare

The Recreational Shakespeare series examines contemporary forms of media performance—radio, graphic novels, “fan fiction,” loose novelistic adaptations, blogs, horror movies, internet parodies, YouTube memes, avant-garde internet podcasts, and more—to discover how these iterations refresh and revitalize Shakespeare.

Recreational Shakespeare addresses questions such as: what kinds of new stories can users generate from the Shakespearean text? How much meaning do these re-creations bear without becoming overly heavy, eccentric, or sentimental and what new meanings appear when old texts are renewed though modern minds? Where exactly do we find the intersection of “Shakespeare” and “popular” culture, and how can these intersections change our already complex orientation towards authorship, adaptation, and appropriation? New Shakespeare works are often used recreationally, consumed for fun during leisure time. What can we determine about recreational consumers? What makes artifacts fun, illuminating, and sometimes even collectable? What are the characteristics of a Shakespeare fan? When is recreated Shakespeare a mere recreation and when is it something more traditionally “respectable”? At what points and under what conditions do all of these taxonomies break down?

From July 2019 we are no longer acquiring new titles for this series.

History Play, by Jane Lawrence, Anne Hathaway’s Cottage; photo by Robek


Shakespeare, new visions, authorship, creativity, graphic novels, comics, cinema, new media

Print Flyer

Titles Published

Available as hardback and PDF ebook.

Series Editors

Michael P. Jensen

Michael P. Jensen writes about Shakespeare and modern culture, especially in film, audio, and comics. He has over 300 publications, a third of which are about Shakespeare and the writers of his time. These have been published as chapters in several books and in journals such as Shakespeare Survey, Shakespeare Bulletin, The Ben Jonson Journal, Hogan’s Alley, Filmfax, and heard on KJAZ-FM. He is a contributing editor to Shakespeare Newsletter, where he created the “Talking Books” column. A complete list of his publications may be found at

Image from Michael P. Jensen

Jeffrey Kahan

Jeffrey Kahan is the author of Reforging Shakespeare (Associated University Presses, 1998), The Cult of Kean (Ashgate, 2006), Bettymania and the Birth of Celebrity Culture (Lehigh University Press, 2010), Getting Published in the Humanities (McFarland, 2011), Shakespiritualism: Shakespeare and the Occult, 1850-1950 (Palgrave, 2013), The Quest for Shakespeare (Palgrave 2017),  and is co-author of Caped Crusaders 101, now in its second edition (MacFarland 2010).  His has published scholarly editions with Zittaw, Mellon, the New Kittredge Shakespeare, Routledge, and the University of Gloucestershire.

Eric S. Mallin

Eric S. Mallin has written Inscribing the Time: Shakespeare and the End of Elizabethan England (University of California Press, 1996), Godless Shakespeare (Continuum 2007) and Stages of Power: Marlowe and Shakespeare, 1592 (University of North Carolina Press, 2016), a gaming manual for a live-action contest between the Lord Admiral’s Men and Lord Strange’s Men. He is currently at work on a book about films that do not know they are Shakespeare plays, Too Many Hamlets: Shakespeare and Meaning in the Movies, as well as a project about self-damage in literature and politics.

Advisory Board

Richard Burt

Burt is currently writing a book trilogy titled Better Dead then ReadI Leave It to You, and Yours Posthumously, parts of which have been published in New Formationsand rhizomes. He is the co-author, with Julian Yates, of What’s the Worst Thing You Can Do to Shakespeare?, the author of Medieval and Early Modern Film and MediaUnspeakable ShaXXXspeares: Queer Theory and American Kiddie Culture (St. Martin’s, 1998; rev. paperback, 1999), and other books.

He has also published more than forty articles and book chapters on topics including Shakespeare, Renaissance drama, literary theory, film adaptation, the Middle Ages in film and media, the erotics of pedagogy, stupidity, cinematic paratexts, biopolitics, posthumography, and censorship. He held a Fulbright scholarship in Berlin, Germany from 1995–96, and taught there at the Free University and the Humboldt University.

Bio and Image from:

Andrew Hartley

Andrew James Hartley is the Robinson Professor of Shakespeare Studies, specializing in performance theory, theatre history and dramaturgy. His academic books include The Shakespearean Dramaturg (Palgrave 2006), Julius Caesar (Shakespeare in Performance series, Manchester UP 2013), Shakespeare and Political Theatre (Palgrave 2013), Shakespeare on the University Stage (Cambridge UP 2014), Julius Caesar: A Critical Reader (Arden, 2016), andShakespeare and Millennial Fiction (Cambridge, 2017). He was the editor of the performance journal Shakespeare Bulletin (Johns Hopkins UP) from 2003-2013 and was an Associate Artist at Georgia Shakespeare where he was resident dramaturg, and is an Honorary Fellow of the University of Central Lancashire (UK).

He teaches Renaissance theatre history and Shakespeare, blending literary and historical critical practices with a material sense of contemporary theatre, and leads the department’s Shakespeare in England spring break course. He also works as a dramaturg and occasional director for campus productions of early modern drama.

As A.J. Hartley he is also the bestselling author of 13 mystery, thriller and fantasy novels for children and adults, including the Darwen Arkwright series for middle grades readers, the first of which won best young adult novel of 2012 from
SIBA, Steeplejack (Tor Teen, 2016) and, with Tom DeLonge, Sekret Machines (To The Stars/Simon and Schuster, 2016). With David Hewson he has written adaptations of Shakespeare’s Macbeth and Hamlet, the latter of which won Audible’s Book of the Year for 2014.

Dr. Hartley received his undergraduate degree from Manchester University (UK) and his Masters and Ph.D. from Boston University.

Bio an Image from:

Sujata Iyengar

Sujata Iyengar (Ph.D., Stanford University, 1998), Professor, specializes in English Renaissance Literature, literature and medicine, and Shakespeare and Appropriation. Her book Shakespeare’s Medical Language was reissued from Bloomsbury/Arden in Spring 2014, her co-authored textbook for the French agrégation exam,‘Not Like an old play’: Shakespeare’s Love’s Labour’s Lost appeared from Fahrenheit Editions in November 2014, and her edited collection Disability, Health, and Happiness in the Shakespearean Body was published by Routledge in January 2015. Her earlier explorations of the human body in written and visual representations include the monograph Shades of Difference: Mythologies of Skin Color in Early Modern England (University of Pennsylvania Press, 2005), an award-winning article in ELH (2002), and essays in journals such as Shakespeare Quarterly, Shakespeare SurveyLiterature/Film QuarterlyShakespeare, Postmodern Culture, and Medieval and Renaissance Drama in England as well as in peer-reviewed collections from the Folger Shakespeare LibraryPurdue University Press, the University of Pennsylvania Press, the University of Toronto PressAshgatePalgrave, and Routledge.

With Christy Desmet, Dr. Iyengar co-founded and continues to co-edit the online, peer-reviewed, multimedia, scholarly journal Borrowers and Lenders: The Journal of Shakespeare and Appropriation, which won First Prize in the “Best New Journal” category from the Council of Editors of Learned Journals (2007). The journal celebrated its tenth anniversary in November 2015 and, with the support of the Willson Center for Humanities and Arts, the Office of the Provost, the UGA Libraries, the Graduate School, the UGA Symposium on the Book, and the Departments of English and Theatre and Film Studies, co-hosted an international conference, open to the public, in Athens on “Appropriation in an Age of Global Shakespeare.” Visit our WordPress site for more information: You can also listen to a radio interview with the editors here:

With Professor Nathalie Vienne-Guerrin of the Université Paul-Valéry Montpellier 3 (UPVM) she collaborates on a three-year cost-sharing international grant, “Scene-Stealing/Ravir la scène,” sponsored by UGA, UPVM, and the French American Cultural Exchange (FACE) Foundation through the Partner University Fund (administered through the French Embassy).The grant from the Partner University Fund will encourage knowledge-exchange and collaboration among faculty and PhD students at UGA and UPVM by subsidizing a series of conference-festivals, symposia, and workshops. These gatherings include the conference-festival “Balcony Scenes/Scènes de Balcon” at UPVM in November 2016; the symposium “Bedchamber Scenes/Scènes de lit” at UGA in April 2017; a study day at the University of Toulouse on Scenes of Truce; and workshops and a conference-festival on “Scenes in the Other’s Language/Scènes dans la langue de l’autre” at both UPVM and UGA in April 2017, November 2018, and April 2019. Selected proceedings will be eligible for peer-review and publication in the open-access, online, multimedia journal Scene Focus/Arrêt sur Scène.

Dr. Iyengar spent academic year 2014-2015 on a Study in a Second Discipline Fellowship at the Lamar Dodd School of Art, taking courses in Letterpress, Paper-making, Book Arts and Typography. She is currently writing a new book on Shakespeare, fine printing, and Book Arts, tentatively titled “Shakespeare and the Art of the Book,” while continuing to develop her interests in medical humanities and appropriation studies; her article “Why Ganymede Faints and the Duke of York Weeps,” which appeared in Shakespeare Survey 67, integrates book history and the history of medicine. She is at work upon three projects: a scholarly monograph, “Shakespeare and the Art of the Book,” which interprets as aesthetic and literary interventions Shakespeare books from the Folio to twenty-first-century “artists’ books”; “Transformative Shakespeares,” an edited collection of creative and critical essays about Shakespearean appropriation; and a suite of essays about intermediality, Shakespeare, and intersectional identities. Work from “Shakespeare and the Art of the Book” appears in Shakespeare Quarterly 67.4 (2016). Her year in the Art School inspired her to begin writing poetry as well as to teach it; her free and formal lyrics are published or forthcoming in a few “little magazines” in print and online, including Punctum Press’s LunchMezzo CamminUpstart CrowUnsplendid; and Measure.

Bio an Image from:

Stephen O'Neill

Dr Stephen O’Neill is a Lecturer in Maynooth University Department of English, with teaching and research interests in Shakespeare studies, especially Shakespeare and digital cultures. He is the author of two books, Shakespeare and YouTube: New Media Forms of the Bard (New York and London: Arden Shakespeare / Bloomsbury, 2014; pbk 2015) and Staging Ireland: Representations in Shakespeare and Renaissance Drama (Dublin: Four Courts, 2007), both of which have been extensively reviewed in the major journals in the field, including Shakespeare Quarterly and Shakespeare Survey.

With Maurizio Calbi, he is editor of the special issue “Shakespeare and Social Media” of the award-winning journal Borrowers and Lenders http://http//  Forthcoming work includes chapter contributions to the volumes Shakespeare and Quotation, ed. Kate Rumbold and Julia Maxwell (Cambridge UP, 2017) and The Shakespeare User, ed. Louise Geddes and Valerie Fazel (Palgrave). He is also editor of the collection Broadcast Your Shakespeare (forthcoming from Arden Shakespeare 2017).

In addition to work on digital Shakespeares, Dr O’Neill’s research has explored the interrelations between Shakespeare and Ireland. He co-edited the collection Shakespeare and the Irish Writer (UCD Press, 2010) and contributed chapters to Celtic Shakespeare: the Bard and the Borderers (Ashgate, 2013) and Ireland in the Renaissance (Four Courts, 2007).

He is a regular contributor to the conferences of the Shakespeare Association of America and the European Shakespeare Research Association. He is also a member of the Irish Renaissance Seminar. Stephen previously lectured in University College Dublin, where he completed his PhD, before joining English at Maynooth University in 2004. He has been an invited speaker at the School of Canadian Irish Studies, Concordia University; the School of English, UCD; the New Bulgarian University, Sofia; Queen’s University Belfast; and Jean Monnet University, Saint-Etienne, where he participated in a teaching exchange. His research has also made a wider public impact, including a book interview on RTE Radio 1 Arts show and a talk for the Abbey Theatre (April 2010).

Dr O’Neill very much welcomes applications for postgraduate research in Shakespeare and Early Modern studies as well as Shakespeare adaptations, especially in digital cultures.

Bio an Image from: