ESRA 2027 will explore the question of ‘form’ from a variety of angles, bringing together scholar, practitioner, school and collegiate communities as well as the general public. Interest in the wide-reaching question of form with regard to Shakespeare has a long and very varied history which looks back to Henry Ruggles’ The Plays of Shakespeare founded on literary forms (1895) and beyond. In the twentieth century, we may think of key interventions, such as C. L. Barber’s Shakespeare’s Festive Comedy. A Study in Dramatic Form and its Relations to Social Custom (1959), William Toole’s Shakespeare’s Problem Plays: Studies in Form and Meaning (1966), Emrys Jones’ Scenic Form in Shakespeare (1971), Robert Weimann’s Shakespeare and the Popular Tradition in the Theatre: Studies in the social dimension of dramatic form and function (1978) and Leo Salingar’s Dramatic Form in Shakespeare and the Jacobeans (1986), to name but a few. More recently, twenty-first-century examples abound, such as Douglas Bruster’s Quoting Shakespeare. Form and Culture in Early Modern Drama (2000), Lene B. Petersen’s Shakespeare’s Errant texts: Textual Form and Linguistic Style (2010), Ruth Nevo’s Tragic Form in Shakespeare (2015), Ralph Berry’s Shakespeare’s Comedies. Explorations in Form (2016) and Jonathan’s Sell’s Shakespeare’s Sublime Ethos: Matter, Stage, Form (2022). In all kinds of ways, the corpus of Shakespeare’s works urges us to think about form in a host of different contexts in research, practice, performance and pedagogy.
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