Publications


BOOKS


Theatre and Testimony in Shakespeare’s England: A Culture of Mediation (Cambridge: Cambridge University Press, 2012). [See excerpt here.] [Google Books]


Reviewed in Choice; Clio; Renaissance Quarterly; Shakespeare Quarterly; Shakespeare Survey; Studies in English Literature


Locating the Queen’s Men, 1583-1603: Material Practices and Conditions of Playing, ed. Helen Ostovich, Holger Schott Syme, and Andrew Griffin (Aldershot: Ashgate, 2009). [Google Books]


Reviewed in Renaissance Quarterly; Shakespeare; Shakespeare Quarterly; Sixteenth-Century Journal; Studies in English Literature


EDITIONS


Textual editor, Edward III, by William Shakespeare and Others, The Norton Shakespeare: Third Edition, ed. Stephen Greenblatt et al. (New York: W. W. Norton, 2015).


Textual editor, The Book of Sir Thomas More, by Anthony Munday, Henry Chettle, Thomas Dekker, Thomas Heywood, William Shakespeare and Others, The Norton Shakespeare: Third Edition, ed. Stephen Greenblatt et al. (New York: W. W. Norton, 2015).


ARTICLES


The Jacobean King’s Men: A Reconsideration,” Review of English Studies 70 (2019): 231-51.


Pastiche or Archetype? The Sam Wanamaker Playhouse and the Project of Theatrical Reconstruction,” Shakespeare Survey 71 (2018): 135-46.


A Theatre without Actors,” Theatre Survey 59 (2018): 265-75.


Three’s Company: Alternative Histories of London’s Theatres in the 1590s,” Shakespeare Survey 65 (2012): 269-89.


“(Mis)representing Justice on the Early Modern Stage,” Studies in Philology 109 (2012): 63-85.


The Meaning of Success: Stories of 1594 and Its Aftermath,” Shakespeare Quarterly 61 (2010): 490-524.

  1. See also roundtable discussion on the Shakespeare Quarterly blog


Unediting the Margin: Jonson, Marston, and the Theatrical Page,” English Literary Renaissance 38.1 (2008): 142-71.


The Look of Speech,” Textual Cultures 2.2 (2007): 34-60.


Becoming Speech: Voicing the Text in Early Modern English Courtrooms and Theatres,” Compar(a)ison: An International Journal of Comparative Literature, I/2003 (published 2007): 107-24.


CHAPTERS IN BOOKS


“A Sharers’ Repertory,” Rethinking Theatrical Documents in Shakespeare’s England, ed. Tiffany Stern (London: Arden Shakespeare/Bloomsbury, forthcoming November 2019); 6,150 words.


“The Theatre of Shakespeare’s Time,” The Norton Shakespeare: Third Edition, ed. Stephen Greenblatt et al. (New York: W. W. Norton, 2015), 93-118.


“Marlowe in his Moment,” Christopher Marlowe in Context, ed. Emily C. Bartels and Emma Smith (Cambridge: Cambridge University Press, 2013), 275-84. [Google Books]


“Thomas Creede, William Barley, and the Venture of Printing Plays,” Shakespeare’s Stationers: Studies in Cultural Bibliography, ed. Marta Straznicky (Philadelphia: University of Pennsylvania Press, 2013), 28-46. [Google Books]


“‘But, what euer you do, Buy’: Richard II as Popular Commodity,” Richard II: New Critical Essays, ed. Jeremy Lopez (London: Routledge, 2012), 223-44. [Amazon Look Inside]


Locating the Queen’s Men: An Introduction” (co-authored with Helen Ostovich and Andrew Griffin), Locating the Queen’s Men, 1583-1603: Material Practices and Conditions of Playing, ed. Helen Ostovich, Holger Schott Syme, and Andrew Griffin (Aldershot: Ashgate, 2009), 1-23.


“Conjuration e Coniuratio: Testi e Congiure nel Julius Caesar di Shakespeare,” Cospirazioni, Trame: Quaderni di Synapsis II, ed. Simona Micali (Florence: Le Monnier, 2003), 173-86. [English version]


OTHER CONTRIBUTIONS TO BOOKS


20 entries in The Stanford Global Shakespeare Encyclopedia, ed. Patricia Parker (Stanford: Stanford University Press, forthcoming 2020); c. 3,500 words.


General Bibliography,” The Norton Shakespeare, ed. Stephen Greenblatt et al., second edition (New York: W. W. Norton, 2008), 3381-3407.


OTHER PUBLICATIONS


179 blog posts on www.dispositio.net since May 2011; total of 337,854 words. Mostly on subjects in early modern studies and performance theory and criticism. 379,089 views to date (since launch in May 2011), with certain posts (on Berlin’s Volksbühne theatre, on the film Anonymous, on Shakespeare’s vocabulary, on classical drama in contemporary theatre, and on the TV series Sherlock and sexism) being cited and linked to widely. Entries have attracted 1,374 comments from readers, many substantive.


“Trauma and Tolerance,” program note for Nathan the Wise, Stratford Festival, May 2019; 1,699 words.


Review of Eoin Price, “Public” and “Private” Playhouses in Renaissance England (London, 2015), Early Theatre 20 (2017): 173-76.


Creative Appropriation,Intermission Magazine (online), 13 April 2017; 3,010 words.


King Lear at the Stationers, Again,” Los Angeles Review of Books, 18 December 2016; 11,879 words.


The Text is Foolish: Brian Vickers’s The One King Lear,” Los Angeles Review of Books, 6 September 2016; 9,838 words.


The Ivory Twitter,” The Walrus (online), 16 June 2016; 2,531 words.


Euer Theater ist viel besser, als Ihr denkt,Nachtkritik.de, 2 October 2015; 1,334 words.


“Theaterbrief aus Toronto,” Junge Bühne 8 (2014), n.p.; 584 words.


David Gilmour’s No Colleague of Mine,” The Huffington Post (Canada), 26 September 2013 (also published in a slightly different version as “On David Gilmour: The Loneliness of the Old White Male,” The New Statesman, 26 September 2013)


Soulpepper: Requiem for a Dream,” The Charlebois Post – Canada, 11 November 2012


Imaginary Targets,” Los Angeles Review of Books, 5 November 2012


“How Shakespeare Could Write Shakespeare,” op-ed in the Montreal Gazette, 1 November 2011, p. A21


1594 – A Roundtable,” with Andrew Gurr, Leslie Thomson, and Bart van Es, Shakespeare Quarterly Forum, January 2011


Producer, Performing the Queen’s Men

(Educational multimedia tool developed with the support of a U of T Instructional Technology Courseware Development Grant, funds from the “Shakespeare and the Queen’s Men” SSHRC Research Creation Grant, and a McMaster Teaching and Learning Project Grant). Launched January 2009.


TEXT INTERVIEWS


Volksbühne, la fine di un grande teatro di provincia? Intervista a Holger Syme,” Altrevelocita.it, in Italian and English, 14 Sept 2017.


“Much Ado about William,” U of T Magazine, Summer 2016.


In Conversation with Holger Syme – Adaptor & Director of The Howland Company’s upcoming workshop production of Casimir and Caroline.” inthegreenroom.ca, 18 Nov. 2015.


Why is Shakespeare still so Popular?” University of Toronto Behind the Headlines Series, June 2009.


BROADCAST INTERVIEWS


Shakespeare: 400 Years.” The Agenda with Steven Paikin, TVO. 26 August 2016.


Is Shakespeare Unrelatable?Central Time, Wisconsin Public Radio (NPR). 14 Aug 2014.


Roland Emmerich’s film Anonymous,” Arts.21, Deutsche Welle (TV), 17 Sept 2011.