Danielle Adair is an artist, performer, and writer. Her works have premiered in exhibition, screening, theater and concert venues internationally. She is the author of From JBAD: Lessons Learned (Les Figues Press) based on her time as “embedded media” with US Forces in Afghanistan and for which she created the feature-length video-performance FIRST ASSIGNMENT. Her second feature-length work And I Think I Like It. is a collection of 13 video-song-poems with an accompanying artist book (Edition Solitude). As part of her three-part video-performance Caution, bomb, Adair created and premiered her experimental opera Caution Baum with the Staatliche Hochschule für Musik und Darstellende Kunst Stuttgart. Adair is a California Community Foundation Visual Arts Fellow, a Center for Cultural Innovation – ARC Grantee, the recipient of The Louis Sudler Prize in the Performing and Creative Arts, and Fellowships at Akademie Schloss Solitude, Digital Arts Studios Belfast, and I-Park Foundation, among other distinctions. She holds her BA with Honors in Human Development and in Visual Arts from The University of Chicago and her MFA in Critical Studies and in Studio Arts from California Institute of the Arts.
In her work and writing Adair is interested in the construct and guarantor of persona, conceptions of psychopathology, immaterial and emotional labor, and the relationship between persona and machine intelligences. danielleadair.com
Kari Barclay is a director, playwright, and researcher working at the intersection of theater and politics. Originally from Washington, D.C., he has made work regionally and in New York at venues including the San Francisco Mime Troupe Studio, Round House Theater, and Manbites Dog. His original play, CAN I HOLD YOU?, was the first full-length piece about asexuality performed in the U.S. and enjoyed a sold-out run in San Francisco and workshop in New York.
Kari’s research interests include cultural policy, the political and racial economies of performance, and equity, diversity, and inclusion in the American theater. His most recent project, “Directing Desire,” examines histories of theater directing in the U.S. in light of the #MeToo movement and suggests avenues for theaters to normalize consent in the rehearsal room, inspired by the emerging field of intimacy direction. Kari is a Carl Weber Memorial Fellow, Humanity in Action Fellow, and recipient of the Sudler Award in the Arts. He received his BA in Theater and Political Science from Duke University, where he was an Angier B. Duke Scholar. kari-barclay.com
Emily Buttner holds a BA in Comparative Literature and Society from Columbia University. Before arriving at Stanford, she spent four years in Ibaraki, Japan on the JET Programme, where she was teaching English, advising, studying Japanese, and lecturing and singing in her community. Her current research interests include, but are not limited to, trans-national and intercultural performance, adaptation, and the performativity of language and translation.
Emily is primarily an actor and singer, but has engaged with theater practice from a variety of angles. While an undergraduate student, she worked with several theater companies around Manhattan, including internships in properties at Punchdrunk’s “Sleep No More”, and in stage management with the Keen Company at Theatre Row. Emily also enjoys opera and collecting Japanese puns.
Danee Conley is a dramaturg turned academic in Stanford TAPS’ PhD program. She received her BA in Theater/Dance and American Studies from Trinity College in Hartford, CT as well as her MA in Theater and Performance Studies from Washington University in St. Louis, MO. She has also studied with the La Mama Experimental Theatre Club and the Shakespeare Globe in London.
Her current research looks at contemporary strategic board games as they intersect with postcolonial spectatorship, activism, and identity formation through game play. Her interests also include game design, intent versus impact, and the potential for cultural or ethical consulting in gaming companies, both board and video.
In her theater practice, she has served the role of lead production dramaturg for university and student theater as well as professional companies since beginning her creative practice in 2012. The most recent productions include Molly’s Hammer at the Repertory Theater of St. Louis, The Mammaries of Tiresias with the Stanford Women* in Theater, and A Raisin in the Sun with Stanford’s Theater and Performance Studies Department.
Douglas Eacho, holds a BA from Brown University in Philosophy and Theater & Performance Studies. He researches avant-garde performance and computational media. He is often interested in aleatory aesthetics, self-organizing systems, and how these reflect political economy. His dissertation, Auto-Play: The Automation of Performance Action, Writing, and Management explores intersections between twentieth-century stage experiments and discourses around the automation of work. He coordinates the Geballe Workshop in Digital Aesthetics, is a Pigott Scholars Fellow, and received Stanford’s Centennial Teaching Award. His article on Rimini Protokoll and statistical reason was published by Theatre Research International in 2018; he has book reviews published and forthcoming in Theatre Journal and Theatre Survey.
Douglas is also a director of original found-text performances. At Brown, he received the 2011 Weston Fine Arts Prize in directing. In New York, his work was presented at the Center for Performance Research, Theatre for the New City, Judson Memorial Church, the Invisible Dog, and in the Catch! curation series. He was proud to work with Stanford students on Fear of a Lonely Planet, a piece about tourism, in 2017.
Sariel Golomb holds a BA in Dance and English from Columbia University. Her research focuses on fantasies of primal urge through movement-based performance, in particular the staging of violence, sexuality, and embodied trauma, and the implications of such scenes on the conceptualization of body and personhood. Her interests include visual culture, postcolonial and gender studies, and affect, trauma, and memory studies.
As an undergraduate Sariel danced in works by Heidi Henderson, Pam Tanowitz, Sam Kim, Alexandra Beller, Gwen Welliver, and Trisha Brown. She has since performed and curated professionally in New York City, and her writings on dance have appeared in The Brooklyn Rail as well as the blogs of The Kitchen and LUMBERYARD Contemporary Performing Arts. Sariel coordinates the Future Artists Initiative (FAI), a national scholarship dedicated to increasing diversity in pre-professional dance education.
Karina is a doctoral candidate 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 El Teatro Campesino. Karina received her undergraduate degrees in Theatre and Spanish Literature from the University of California, San Diego.
Gutiérrez’ dissertation, “Social Protest After the “Movement”: Aesthetics, Genre, and Survival Post-1980” explores how the digital age and institutionalization affects the creative output and historicization of social protest theatre companies in the Americas. She has previously presented her research at the National Association of Chicano Studies (NACCS), the National Association of Ethnic Studies (NAES), and The Association of Theatre in Higher Education (ATHE), and the American Society for Theatre Research (ASTR). Outside of academia, Karina is an advocate for Latinx/Chicanx representation in the arts and is a co-founder of BALTAN, the Bay Area Latino Theatre Alliance Network.
Emma holds a Master of Science in Criminology and Criminal Justice from Oxford University, a Bachelor in Philosophy and Political Science from Sciences Po-Paris and La Sorbonne. She comes to the field of performance studies with extensive work and research experience in the Lebanese criminal justice system. She is now looking to explore the intersections of performance studies, security sector reform, and conflict resolution processes. She is also a film-maker eager to use visual media and new technologies to bridge those fields. Her first dance film, advocating against arbitrary detention in Lebanon, got selected for screening in the San Francisco Dance Film Festival.
TIMOTHY S. JONES II
Tim is a producer, activist, and multi-disciplinary artist. He holds bachelor degrees in English Literature and Drama from Morehouse College. He also received his MFA in Theatre Management and Producing from Columbia University. His research interests include various intersections of trauma, narrative medicine, sexuality, performance ethnography, critical race theory, shame, memory, and surveillance.
Tim has trained at the Ailey School, Shanghai Theater Academy, the British American Drama Academy, Spelman Dance Theater, and Earl Mosley’s Institute of the Arts. During his time at Columbia University, he worked at Sleep No More, New York Live Arts, and New York Theater Workshop. From 2015-2019 Tim worked as the Arts Director of Cooperative Arts High where he lead the arts program, community partnerships, ran a leadership mentoring program for at-risk young men of color, and occasionally taught a course called ‘Facing History and Ourselves’. He consistently is interested in interrogating cultural competency, programming and engagement initiatives, as well as the complexities surrounding representation of people of color on and off stage/screen.
Anna Jayne Kimmel holds an A.B. in French and Italian, cum laude, from Princeton University, where she also pursued certificates from the Program in African Studies and the Program in Dance. As a doctoral candidate in Performance Studies at Stanford University, her research intersects: race, immigration, national identity, and post-colonialism through performance. Specifically, her current work engages French and Francophone African dance as a tool for investigating immigrant social and affective infrastructure, cultural memory, and movement practice.
As a dancer, Anna has performed the works of: Ohad Naharin, Trisha Brown, John Jaspers, Francesca Harper, Rebecca Lazier, Olivier Tarpaga, Marjani Forte, Susan Marshall, Loni Landon, and Christopher Ralph, amongst others. She was awarded the Francis LeMoyne Page Dance Award at Princeton University, and was a two-time recipient of Koch Cultural Trust Grant.
Suhaila Meera holds a BA in History and Film from Cornell University. An actor and dancer, she has studied with Barry John in Bombay and at the Stella Adler Studio in New York, and has a background in jazz, hiphop, Bollywood, and Indian folk dance. Before beginning her PhD at Stanford she worked for prominent Delhi-based arts management firm, Teamwork Arts, New York-based nonprofit Girls Write Now, and The Juilliard School. Her academic interests include (but are not limited to!) authenticity, play, and politics in performance: where the lines blur between identity and persona, in life and on stage.
Rishika Mehrishi holds a BA (honors) in History from Delhi University, and an MA in Performance Studies from Jawaharlal Nehru University, New Delhi, and Tisch School of the Arts, New York University. With a particular focus on human-nonhuman encounters in South Asia, her current research intersects multispecies ethnography, gender, object ontology, and postcolonial studies. As a performance artist, Rishika makes durational art that draws heavily on everyday rituals and laboring bodies. Her work as an archivist lies at the cusp of her academic and artistic pursuits. Rishika has spent several years working on research, documentation, and cataloguing of theater and performance based archival collections in Delhi, Abu Dhabi, Seoul, and New York.
Rashi has an MA in Performance Studies from New York University, MA in Conflict and Peace Studies from Jamia Millia Islamia University and a Bachelors in Economics and Computers from Delhi University. Rashi was actively involved in Delhi University’s campus theatre where she was a member of, and later headed, Maitreyi College’s dramatics society Abhivyakti. She acted in various productions such as In The Name of Honour (a devised protest performance against honour killings in India), O Ibsen (based on Henrik Ibsen’s plays), Akka Amoli Anni (an adaptation of Munshi Premchand’s story ‘Bade Bhaisaheb’) and Eklavya Uvach (a satire on the prevalent caste system in India), which were performed at different university festivals in India. Amongst these the play O Ibsen was performed as part of the Norwegian Collegiate Theatre Festival in Delhi in 2010. She recently co-directed a devised experimental performance, based on Sadaat Hasan Manto’s partition stories, titled Enter At Your Own Risk. A seditious play in a few scenes showing sanity and insanity as performed by actors of National Paagalkhana — by order of Toba Tek Singh. She has also been associated with different socially and politically active theatre groups in Delhi in different capacities.
Her research interests include exploring the relationship between aesthetics, politics and performance; postcolonial studies; and representation & subjecthood of the subaltern in theatrical as well as every day performances. Rashi was a recipient of Gallatin Global Fellowship in Human Rights at NYU as part of which she explored the role of theatre in fostering the human rights discourse, specifically looking at theatre practices of Palestinian artists in the West Bank.
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 research areas include queer and trans* people of color (QTPOC) literature, performance and film; the intersection of sexual violence and structural violence; and queer migration. 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 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.
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.
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 the theatrical cultures of modern Western Europe (primarily Germany and France) and examines the relation between modes of spectatorship and political conceptions of community in these contexts. His Master’s thesis intervened in Alain Badiou’s 2010 book project Five Lessons on Wagner, bringing historical evidence from the 1882 premiere of Wagner’s Parsifal to bear on Badiou’s claims about the opera as a modern ceremony. Other research interests include theories of spectacle, 19th-century German literature, and sound studies.
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.
Áine Josephine Tyrrell is a fifth-year PhD candidate at the Stanford Department of Theater and Performance Studies. She holds a BA in English Literature and Drama Studies from the University of Dublin, Trinity College Dublin (TCD). In 2011 she was awarded Ireland’s Foundational Scholarship and made a fellow of TCD in recognition of contributions to scholarship. Her current research explores the intersections of immigration and counter-terrorism through the lens of performance. Her focus is on ‘security theatre’ and reading policy-as-script in the UK, US and France post-9/11. Alongside this research, she also maintains an artistic practice as a singer, a director, and a set designer.
Michele Wells holds a BA in Economics from Spelman College and a BA in Performing the African Diaspora from the CUNY Graduate School’s Center for Unique & Interdisciplinary Studies. As a Mellon Mays Undergraduate Fellow, Michele’s past research includes the Memphite Drama and Abydos Passion Play of ancient Africa; theater as a mode of historical preservation and communal reconciliation; black women and the use of performance as social critique; and, the role of theater in social transition across the African Diaspora, with a focus on the United States, South Africa, Brazil, and Japan.
As the founder of Run On Productions LLC (www.runonproductionsca.com), Michele acts, writes, directs, and produces original plays, including The War at Home, winner Best Play, Atlanta Black Theater Festival (2014.) Michele is also the creator of Theater for Humanity (www.theaterforhumanity.com) a program that addresses the hostility between formerly incarcerated persons and police officers with the aim of transforming both groups’ decision making through dialogue and reconciliation. Finally, to support other artist-entrepreneurs, Michele created Elevate the Artist (www.elevatetheartist.com), a collection of workshops, toolkits and more, designed for individual artists.
Michele’s present research interests include: measuring the impact of theater as a network creation intervention; black women and the performance of femininity; and, theater’s potential role in reconciling the conflicts that rest of the foundation of the modern world.