• GRADUATE STUDENTS

taps graduate students

kbarclay@stanford.edu
Kari Barclay
Kari Barclay is a theater director, researcher, and activist in Stanford's PhD in Theater and Performance Studies. Working at the intersection of theater and political theory, he currently studies the role of democracy, community, and the state in contemporary community-based performance.

Kari holds a BA in theater studies and political science from Duke University, where he was an Angier B. Duke Scholar and Humanity in Action Fellow. His past directing work includes The Bull City Dignity Project (an original performance with Durham, NC teenagers about civil rights history, gentrification, and LGBT+ politics), Me Too Monologues (a nationwide program exploring identity in higher education), and All the World's a Stage (theater workshops with refugee youth). He continues to research and make theater at Stanford and in the Bay Area more broadly.
csberg@stanford.edu |
Cynthia Bergeron-Zaidi
Cynthia Shazia Bergeron-Zaidi’s research focuses on the concept of performativity as articulated in the work of the French-Algerian philosopher Jacques Derrida, and is especially interested the work he produces in the 1990s on what he refers to as “return of the religious.” She completed her Études pré-universitaires (DEC) in Arts et Lettres at Le Collège Lionel-Groulx, her BA in Art History at Concordia and her MA in Art History and Communications at McGill University. Past experiences include working as an assistant director on productions of Huis Clos, Cyrano de Bergerac, L’Auberge des morts subites and Emile; and as a curator for shows such as Orgasmes legers and En voilà une archive.
rchaleff@stanford.edu |
Rebecca Chaleff
Rebecca Chaleff is a doctoral candidate in the department of Theater and Performance Studies at Stanford University, minoring in Feminist, Gender, and Sexuality Studies. She holds a BA in Dance and English from Barnard College, Columbia University, and an MA in Gender and Culture from Goldsmiths, University of London. Her dissertation project, Choreographic Legacies: Future Histories of Performance, analyzes how imperialism haunts dance histories that continue to shape transnational performances of race and gender. Her writing has been published in TDR/The Drama Review and Performance Research. As a dancer, Rebecca has had the pleasure of performing with Pat Catterson, the Merce Cunningham Dance Company Repertory Understudy Group, Douglas Dunn and Dancers, and the Margaret Jenkins Dance Company, among others, and is currently a member of Molissa Fenley and Company and GERALDCASELDANCE.
deacho@stanford.edu
Douglas Eacho
Douglas holds a BA from Brown University in Philosophy and Theater & Performance Studies, where he was the recipient of the 2011 Weston Fine Arts Prize. He directed performance pieces in New York City for several years, with his work presented at the Center for Performance Research, Theatre for the New City, Judson Memorial Church, the Invisible Dog, and in the Catch! curation series. A review once called his work “totally uninterested in any mainstream notions of theatrical pleasure.” He researches the historical avant-garde, with particular focus on mid-century America, while looking for connections between aleatory performance, computer logic, cybernetic socialism, and queer erotics.
kgutierr@stanford.edu |
Karina Gutierrez
Karina is a doctoral student in the department of Theater and Performance Studies at Stanford University. As a performer, Karina has appeared in productions throughout California, having worked with Magic Theatre, Teatro Visiόn, Shotgun Players, San Francisco Playwright’s Foundation, BRAVA Center for the Arts, San Diego Repertory Theatre and Kaiser Permanente’s Educational Theatre Programs. Karina received her undergraduate degrees in Theatre and Spanish Literature from the University of California, San Diego. Her primary research interest involves the appropriation of space and genre as it pertains to US Latina/o and Chican@ theatre. Other research interests include theatre for social change, gender studies, race, theatre history and the intersection of politics and performance. She is a McNair and MURAP Scholar and is currently a part of the literary committee at the Magic Theatre. She has presented her work at the University of California San Diego (UCSD), Moore Undergraduate Research Apprenticeship Program (MURAP) at UNC, Chapel Hill, and the National Association for Chicana and Chicano Studies (NACCS). She is also a co-founder of BALTAN, the Bay Area Latino Theatre Artist's Network.
hoxworth@stanford.edu |
Kellen Hoxworth
Kellen Hoxworth is a Ph.D. Candidate in Theater & Performance Studies; he is also pursuing a Graduate Certificate in African Studies at Stanford University. At Stanford, he has been awarded generous support for his dissertation research, including a Pigott Scholars Fellowship, a Graduate Research Opportunity Award in Modern British History & Culture, as well as research fellowships from the Center for African Studies and the Center for South Asia. He holds a B.A. in English Literature from Washington University in St. Louis, and an M.A. in Theatre and Performance Studies from the University of Pittsburgh.

His academic interests focus on the formations of race and coloniality, particularly in the transhistorical performance networks of the global south. His dissertation, Transoceanic Blackface, Imperial Whiteness: Performing “Race” in the Global Nineteenth Century, traces the formation of blackface minstrel performance networks throughout the British Empire and the global Anglophone world. His writing has been published in Theatre Survey and Performance Research. He has presented his research at several academic conferences such as the American Society for Theatre Research (ASTR) and the Association for Theatre in Higher Education (ATHE), where he was awarded the Theatre History Focus Group Emerging Scholars Award in 2011.

As an artist, Kellen is a performer, director, and dramaturg. He approaches the theatre as a charged site at the intersections of representation, corporeality, and material practice. As such, the theatre offers a space for interrogating and undoing historical formations of race, gender, class, sexuality, and access. Recently, he has directed productions of Argentine playwright Lola Arias’s A Kingdom, a Country or a Wasteland, in the Snow and María Irene Fornés’s Mud. He has performed in fox mirror forest by the Becky Collective as well as The Collected Works’ site-specific production of Jean Genet’s The Balcony at the San Francisco Mint. He has also served as a dramaturg at the Aurora Theatre, Berkeley, for productions of Athol Fugard’s “Master Harold”…and the Boys and Fraser Grace’s Breakfast with Mugabe. For more information, see www.kellenhoxworth.com.
sorimlee@stanford.edu
So-Rim Lee
So-Rim is a doctoral candidate in the department of Theater and Performance Studies. She holds a B.A. in Film Studies from Columbia University, an M.A. in English Literature from Seoul National University, and an M.A. in Text and Performance from Royal Academy of Dramatic Art (RADA). Before coming to Stanford, So-Rim worked as a professional translator and editor with commissions from Seoul Metropolitan Government and Literature Translation Institute of Korea. She wrote her master’s theses on Allen Ginsberg’s performance poetics in “Howl” and the potentiality of theatrical mise-en-scene in the photographs of Angus McBean and Diane Arbus. So-Rim researches the intersection between Performance Studies and Visual Studies, historiographies of the First Avant-Garde, East Asian Trans-Pacific performances, and transnational translation and adaptation theories. Classically trained in piano and visual arts practice with an emphasis on photography, she continues to exhibit her work in Seoul, New York, London and Berlin. At Stanford, she recently directed Anthony Neilson’s Stitching.
angrette@stanford.edu |
Angrette McCloskey
Angrette holds a BFA in Set Design, and an MA in Performance Studies from NYU-Tisch. Originally from Phoenix, AZ, Angrette has worked as a freelance set designer for theatre and film in NYC for the past seven years. Her credits include off-Broadway and regional plays, as well assistant credits on Broadway, and the Metropolitan Opera, and English National Opera. While in New York she also spent five years teaching stagecraft to high school students. Angrette's academic research is invested in the belief that the physical spaces we inhabit have profound effects on our beings. Her work is an exploration of space's ability to nurture an affective relationship between itself and its inhabitant, particularly through the construction process.
amoyce@stanford.edu |
Audrey Moyce
Audrey received her Bachelor of Arts from Sarah Lawrence College. She has worked in technical production for dance and theater in downtown Manhattan, trained with SITI Company and studied with Anne Bogart, and indulges in theorizing about ways art can improve the world. Her research interests include narratives of modernity; minimalism and postmodern dance; and the history of feminism in performance. She enjoys directing, playwriting, and will perform onstage when irresistible opportunities arise.
THaon@stanford.edu |
Thao P. Nguyen
Thao P. Nguyen holds a Master of Public Health (MPH) degree from the University of California at Berkeley, a Master of Arts (MA) degree in Communication Studies with a focus on Performance Studies from San Francisco State University, and a Bachelor of Science (BS) degree in Psychology from Brown University. As a scholar, her area of study is at the intersection of live performance, mental health, and social justice. She is particularly interested in increasing the visibility and understanding of issues most pertinent to populations experiencing multiple vectors of structural oppression, such as Asian American women and Queer and Trans People of Color (QTPOC). Nguyen is a playwright, solo performer, and comic storyteller. Her full-length one-person comedy Fortunate Daughter was named one of the top ten Bay Area plays of 2013 by KQED Year in the Arts. Nguyen has been a member of the Solo Performance Workshop since 2007. She served as the Artistic Director for the Asian Pacific Islander Cultural Center of San Francisco from 2013 to 2014. For more information, please visit www.thaosolo.com.
VIVEKVN.STANFORD.EDU
Vivek V. Narayan
Vivek is a theatre director and playwright, whose current research is on caste, capital and performance in India during the era of economic liberalization. He is artistic director of Theatre Counteract (www.theatrecounteract.com) and alumnus of Royal Holloway, University of London, where he completed MA Theatre Direction on a Charles Wallace Award. Directorial credits include Ends and Beginnings (2007-08), based on Samuel Beckett’s Endgame, Girish Karnad’s The Fire and the Rain (2004), as well as the new plays An Arrangements of Shoes (2011) by Abhishek Majumdar, A Flame in Hero's Tower by Andy Dickinson (2009) and Pestilences (2012), a multilingual production inspired by Albert Camus's The Plague. In 2010, he wrote Walking to the Sun for the Mumbai-based Theatre Arpana, directed by Sunil Shanbag at the Tagore Utsav in Kolkata.
RORMISTO@stanford.edu |
Rebecca Ormiston
Rebecca holds a B.A. in Theatre and English from Florida Gulf Coast University, and an M.A. in Theatre Studies from Florida State University. Before attending FSU, Becky recently completed an internship in Literary Management at the Florida Studio Theatre in Sarasota. Her research interests include critical theory and the avant-garde, and the intersection between postmodernism, race, and sexuality in feminist performance. Becky is also interested in exploring methods of devised performance, and has worked with several groups in the Southwest Florida area on new work concerning coalition building among women of color, and their allies.
gigio@stanford.edu
Gigi Otalvaro-Hormillosa
Gigi is a San Francisco-based interdisciplinary performance artist, writer, and psychogeographer.  She holds a B.A. from Brown University in an independent concentration entitled “Hybridity and Performance” and an M.A. in Visual and Critical Studies from California College of the Arts. Her master’s thesis focused on issues of memory, embodiment, and the politics of space in relation to public art and memorials in the aftermath of Argentina’s Dirty War (1976-1983). Her work in performance and video has been presented nationally and internationally. From 2002 to 2008, she directed her own arts organization (a)eromestiza, dedicated to presenting cutting edge video and performance by queer artists of color.  Her writing has been published in Performance Research, Social Justice Journal, shellac, artistmanifesto.com, Antithesis Journal: Sex 2000 and anthologies such as Postcolonial and Queer Theories: Intersections and Essays and Pinay Power: Peminist Critical Theory / Theorizing the Filipina American Experience. She has received awards from Core77, Franklin Furnace Fund for Performance Art, the San Francisco Art Commission, the Potrero Nuevo Fund Prize, and the National Association for Latino Art and Culture, among others. She is also a Ph.D. minor in Art History and is currently working on her dissertation entitled "The Efficacy of Erotics: Performance, Art, and Activism in San Francisco Strip Clubs (1960s-2010s)" which employs ethnographic, historiographic, and art historical methods. More info: gigiotalvaro.com
jpiggott@stanford.edu
Jessi Piggott
Jessi received an M.A. in Theater Studies from the Freie Universität Berlin where she studied as a DAAD scholarship holder. Her thesis explored monstrous strategies of Shakespearean adaptation in the work of German playwright Heiner Müller. Originally from Canada, Jessi completed her B.A. in the drama honors program at the University of Alberta with a focus on critical theory, solo and clown performance, and directing. Current research interests include embodiments of monstrosity in contemporary performance, postdramatic theater, and intersections of politics and performance.
amani@stanford.edu
Amani Starnes
Amani Starnes is an actress, dancer, writer, producer, and singer in Stanford’s PhD TAPS program. She graduated from Yale University, where she majored in Theater Studies with a concentration in Performance and African American Studies.

Her work focuses primarily on race and gender in performance and culture. Recently, Amani received critical acclaim in such publications as The Washington Post, Jezebel, The Jane Dough, Madame Noire, and Racialicious for a web series she wrote, produced, and headlined, The United Colors of Amani. In the tradition of Robert Townsend’s Hollywood Shuffle, the series explores Amani’s uncomfortable racial adventures in Hollywood.

In addition to her web presence, Amani is the face of several national commercials. She also sings, choreographs, produces content for networks like AOL and AMC, and performs in independent films, plays, concerts, music videos, rock operas and musicals. She has been a member of Tim Robbins’ The Actors’ Gang theater company for over a decade.
mcstone@stanford.edu
Matt Stone
Matt holds a B.A. in Literature from Harvard College and an M.A. in the Humanities from the University of Chicago. His research focuses on theatrical and operatic performance in German over the long 19th century, examining the relations of politics and aesthetics in those contexts. Other interests include theories of spectatorship, the Frankfurt School, and sound studies. As a theater-maker, Matt works primarily as a director and sound designer. He has directed projects for the Harvard-Radcliffe Drama Club, the Dunster House Opera, and Sightline Theater Company, and his sound credits include work for the ART/MXAT Institute, Fulcrum Theater, and art.party.theater.company. Recent credits at Stanford include directing and designing Bluebeard's Castle in the Nitery, and sound designing The Mammaries of Tiresias and Saint Joan of the Stockyards.
RTRUAX@stanford.edu
Raegan Truax
Raegan works broadly across the disciplines of performance, dance, gender studies, art history and visual culture.  Her primary research is focused toward developing a nuanced understanding of durational and time-based performance, with a specific investment in queer and feminist performance art.

Artistically, Raegan is a durational performance artist and her research reflects her embodied knowledge of time-based work.  Her second year production at Stanford, if this gets messy, concluded with a consecutive twenty-eight hour performance. Her work has been presented at Zentrum für Kunst und Urbanistik (ZKU) in Berlin, The Northern California Performance Platform, Stanford’s Department of Art and Architecture, and Dance Theatre Workshop in New York City. She is also collaborator to Carlos Motta’s international art project “We Who Feel Differently” and the WWFD symposium at the New Museum in New York City.

Raegan holds a B.A. in Creative Writing from Colorado College; an MA in Humanities and Social Thought with a concentration in Gender Politics from John W. Draper Interdisciplinary Program at NYU; and an MA in Performance Studies from NYU. She was the recipient of The Leigh George Odom Memorial Award for Distinguished Master’s Student from NYU’s Department of Performance Studies in 2011, The Shannon McGee Prize in Women Studies in 2002, and the Ann Rice Memorial Award in 2001.
ATYRRELL@stanford.edu
Aine Tyrrell
Áine Josephine Tyrrell is a Ph.D. Candidate in the department of Theater and Performance Studies at Stanford University. After briefly studying Medicine at University College London, she completed her B.A. in English Literature and Drama Studies at Trinity College Dublin. During this time she was awarded Trinity College's Foundational Scholarship and became a Scholar of the university as well as the Chief Editor of the college's Journal of Literary Translation. Though she is primarily a director, her background in theater includes set design, devising, music composition for the stage, and acting. Her focus is on interdisciplinary research, with particular attention to the intersections between neurology, human psychology, politics and performance. Her academic interests include, but are not limited to, psycho-geography and spatial theory, bio-art, and performance art that investigates states and experiences beyond language/articulation.