taps graduate students
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.
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.
As a theater-maker, Matt works primarily as a director and sound designer. His productions of Genet’s The Balcony and Kane’s Cleansed appeared on the American Repertory Theater’s Mainstage in 2011, and he has also directed projects for Sightline Theater Company and the Dunster House Opera Society. His sound design credits include work for the ART/MXAT Institute, Fulcrum Theater, Sightline Theater Company, and art.party.theater.company.
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.