Penelope Woods

Dr Penelope Woods was a Research Associate with the ARC Centre of Excellence for the History of Emotions (Europe 1100–1800) at The University of Western Australia, working on theatre audience research and early modern performance history. Penelope is collaborating with UK and Australian theatres on research into audience emotion in theatre spectatorship today and developing our understanding of audience emotion in theatres in Europe in the sixteenth and seventeenth centuries. Penelope collaborated with Shakespeare's Globe and Queen Mary University of London on a PhD on spectatorship, reconstruction and audiences.



Feelings in the Room: Theatre Audiences and their Emotions


Woods, Penelope. ‘Chapter 7- The Indoor Theatre Audience: Pity and Wonder’ in Moving Shakespeare Indoors. Ed. Andrew Gurr and Farah Karim-Cooper. Cambridge: Cambridge University Press, 2014. pp. 152–67.

Woods, Penelope. ‘Chapter 9- Pocket Henry V: A Collaborative Debate’ in Shakespeare and Audience in Practice. Stephen Purcell. Basingstoke: Palgrave Macmillan, 2013. pp. 159–172.

Woods, Penelope. ‘The Two Gentlemen of Verona: directed by Arne Pohlmeier for the Two Gents Theatre Company (Harare, Zimbabwe and London, UK)’ in A Year of Shakespeare: Reviewing the World Shakespeare Festival 2012. Ed. by Paul Edmondson, Paul Prescott and Erin Sullivan. London: Bloomsbury, 2013. pp. 223–26.

Woods, Penelope. “Two Gentlemen of Zimbabwe and their Diaspora Audience” African Theatre 12: Shakespeare in & out of Africa. Ed. by Jane Plastow et al. (2013)

Woods, Penelope. “Observations from the Rehearsal Room; Playing Shakespeare’s A Midsummer Night’s Dream at Shakespeare’s Globe” Shakespeare Bulletin 30.4 (2012): 565–72.

Woods, Penelope. “Frontier Shakespeare and the Feeling of Ownership”, Centre for the Histories of Emotion Blog Space, 6 March 2013.

Papers Given

‘Likerous Looking and Amatory Audition in Othello’, Senses in Performance Seminar Group, Shakespeare Association of America, St Louis, Missouri, 10–12 April, 2014.

‘Fortune at the Theatre’, Risk, Chance and Fortune in the Renaissance, Renaissance Society of America, New York, 28–30 March, 2014.

‘‘Many will swoon when they do look on blood’ Stage Blood and Audience Affect’, The Blood Conference, Oxford University, 3–5 January, 2014.

‘Painted Sepulchres: Doing Audience Historiography’, PMRG Conference, University of Western Australia, 29–30 November, 2013.

‘An Audience for Othello (c.1604): the Affective Technology of the Elizabethan Theatre’ Arts and Rhetorics of Emotion in Early Modern Europe, University of Queensland, Australia, 25–27 November, 2013.

‘’Globe to Globe’ and its Audiences, London 2012’ International Federation of Theatre Research, Barcelona, 22–26 July 2013.

‘Emotions Backstage: the literal and imaginary space of the seventeenth century Tiring House’ Sourcing Emotions-Centre for the History of Emotions Bi-Annual Conference, Perth, Australia, 27–29 June, 2013.

‘Audience Skill: An exploration of the habitus of being audience in a reconstructed early modern theatre’ Shakespeare Association of America, Toronto, 28–30 March 2013.

‘The Reciprocal Face Dynamic on the Early Modern Stage’ Faces of Emotion Collaboratory, University of Melbourne, 5–7 December 2012.

‘Hospitality and Hostility: the interpersonal dynamic at the Globe Theatre’, Shakespeare and Emotions, Australia and New Zealand Shakespeare Association, UWA, 27–30 November 2012.

Invited Lectures

“Well Painted Passion’: Towards a Manifesto for Audience Historiography, for the Performance Studies Departmental Seminar Series, Sydney University, invited by Dr Amanda Card and Dr

‘Emotions in the Wild, Emotions in the Gallery: the Intentionality of Spectatorship in the Art Gallery’, Art History Seminar Series, Melbourne University, invited by Dr Felicity Harley-McGowan (AI), 9 October 2013.

‘Stage Blood and Stage Kisses: Playing Shakespeare with Globe Education at Shakespeare’s Globe’, for Continuing Professional Development Lecture Series, University of Queensland, invited by Prof Joanne Tompkins and Dr Alison Scott, (AI) 29 April 2013.