BECKY BODURTHA | Senior Lecturer
BBODURTH@STANFORD.EDU MEMORIAL HALL ROOM 209
Senior Lecturer, Costume Design. Becky Bodurtha is a costume designer with regional, international and New York City credits. Recent credits include Felix Starro (Theatre Ma-Yi), Open (The Tank), 1000 Nights and One Day (Prospect Theatre Company), and Mr. Burns (NYU Gallatin). Other credits: Constellations (Wilma), The Strangest (East 4th Street), ACE (Margorie Deane), Among the Dead (Theatre Ma-Yi) Passover (Cherry Lane) The Wong Kids in the Secret of the Space Chupacabra, Go! (Theatre Ma-Yi), Livin’ La Vida Imelda (Theatre Ma-Yi), and This Lingering Life (HERE Arts). International credits include Movement for Humanity and Africa’s Hope for the Ubumuntu Festival in Kigali, Rwanda. Becky is the resident costume designer for Vermont Shakespeare Festival where she recently designed Taming of the Shrew and Julius Caesar. She received her undergraduate degree from Waldorf College and her MFA from the University of Iowa. Please visit her website at: www.beckybodurtha.com
DAVID BRESENHAM | Lecturer
Lecturer, Media Production. Bresenham is a reality television showrunner with an MFA from USC Film School and a J from Harvard Law School. He has produced and directed dozens of television shows including Whale Wars, Keeping Up with the Kardashians, The Simple Life, and 90 Day Fiancé.
CLIFF CARUTHERS | Lecturer
Lecturer, Sound Design. Cliff Caruthers is a Bay Area based sound designer and composer with over 20 years experience in the field of theatre sound design. He has created music and soundscapes for over 300 productions near and far, including Playing With Fire at Guthrie Theatre, 1984 at Alley Theatre, Caucasian Chalk Circle for American Conservatory Theater, TRAGEDY: A Tragedy for Berkeley Repertory Theater, Man in Love for Kansas City Rep, and A Clean House for TheatreWorks Silicon Valley, where he was Resident Sound Designer for seven years. In 2007 his work on Fighter Airplanes for Cutting Ball Theater was featured at the Prague Quadrennial. His work on Earth: A Primer, was featured at the Experimental Gameplay Worship at the Game Developers Conference (GDC) in 2015. He has received several Bay Area Critics Circle awards, including most recently in 2019 for Detroit ’67 at Aurora Theatre Company. Mr. Caruthers is co-curator of the San Francisco Tape Music Festival, and currently serves as Trustee to the Western Region Board of United Scenic Artists Local 829.
MATT CHAPMAN | Lecturer
MATTCH@STANFORD.EDU MEMORIAL HALL ROOM 210
Lecturer, Movement. Matt Chapman is a performer, director, and teacher of physical theatre, movement, and clown. He is the Co-Founder and Co-Artistic Director of Brooklyn’s Under the Table, collaborating on each of the company’s 12 works produced since its founding in 2001. Based in Oakland, CA, Matt began working with TAPS as a lecturer in Winter 2017.
In recent years, Matt has worked on the Faculties of several programs at American Conservatory Theatre in San Francisco, and spent several years on the Faculty at Dell’Arte International School of Physical Theatre in Blue Lake, CA; he currently continues his work with the school as Director of Admissions and Recruiting.
Matt has taught Clown at Marymount Manhattan College and Manhattanville College in New York, and has taught workshops at such places as the John F. Kennedy Center for the Performing Arts, Actor’s Theatre of Louisville, NYU, Vassar, Sarah Lawrence, Towson, the University of Iowa, James Madison University, University of North Dakota, NYC’s People’s Improv Theatre, and the Brooklyn Arts eXchange.
He works abroad regularly as well; his workshops, directing, and performances have included South Africa, Denmark, Colombia, the Netherlands, Canada, Mexico, and England. Matt has held several Clown intensives in collaboration with Suzanne Bakker in Amsterdam and taught annually in Mexico City at UNAM’s Festival Nacional de Teatro Universitario.
He has collaborated with NYC’s Eavesdrop; Durban, South Africa’s African Dream Circus; Sweden’s Cirkus Cirkor; Denmark’s Filuren and Jomfru Ane Teatret; Blue Lake’s Dell’Arte Company; Philadelphia’s Hotel Obligado; and Arcata, CA’s Pequeño Teatro DanceTheatre, and worked as Movement Consultant for Stanford’s The Good Person of Szechwan, directed by Mina Morita.
Matt works with Clowns Without Borders, writes music for and plays guitar in the Oakland punk band The Big Forgive, and is a graduate of Dell’Arte International and the University of Kansas. He was a recipient of Theatre Communications Group’s New Generations Future Leaders program.
KATIE FAULKNER | Lecturer
ROBLE GYM ROOM 111 KHFAULK@STANFORD.EDU
Katie Faulkner is a choreographer, performer, teaching artist and the Artistic Director of little seismic dance company. Since founding the project-based company in 2006, Faulkner has received support in the form of numerous grants, commissions, residencies, and awards. She was an Artist-in-Residence at San Francisco’s ODC Theater from 2009-2011 and has been in residence at the Shawl-Anderson Dance Center, the Marin Headlands Center for the Arts, the Djerassi Resident Artist Program, the Rauschenberg Residency, and the Maggie Allesee National Center for Choreography. She has received two CHIME Grants from the Margaret Jenkins Dance Company enabling year-long choreographic mentorships with choreographers David Gordon and Erika Chong Shuch. Faulkner has also received multiple Isadora Duncan Dance Awards and nominations, the top prize for her work in the Joyce Theater A.W.A.R.D. Show!/San Francisco competition, and the 2010 SF Bay Guardian GOLDIE (Guardian Outstanding Local Discovery) Award for dance.
In addition to her direction of little seismic, she works as a freelance choreographer developing works for a variety of platforms. In so doing, she has collaborated with composers, animators, filmmakers, writers, fellow choreographers and theater and music video directors. Faulkner has been commissioned to create multiple works for universities, presenting agencies and professional companies throughout the country and enjoys the balance of these projects with those of her company. As a dancer she has performed the works of Bill T. Jones, Stephen Petronio, Alex Ketley, Randee Paufve, Victoria Marks, Susan Rethorst and Ann Carlson. She worked with several of these choreographers as a dancer with AXIS Dance Company, with whom she performed both locally and nationally from 2003-2007. She has been an active educator since 2002 and is currently on faculty at UC Berkeley and Stanford University. In January 2015 she received her certification in Laban/Bartenieff Movement Analysis from the Integrated Movement Studies program.
DIANE FRANK | Lecturer
DFRANK1@STANFORD.EDU (650) 725-9330 ROBLE GYM ROOM 111A
Lecturer, Modern Dance, Merce Cunningham Technique, Choreography, Repertory. BFA in Theater; MA in Dance; Assistant Professor, Dance Department at the University of Maryland, founding member of the Maryland Dance Theater. Frank then moved to New York City to begin an 11-year career with Douglas Dunn and Dancers, touring nationally and internationally. She trained with Merce Cunningham throughout her time in NYC, and was a member of his teaching staff at the Merce Cunningham Dance Studio for eight years; at Cunningham’s request, she taught technique and repertory at the American Center’s Atelier Cunningham in Paris. A frequent guest teacher at the Paris Opera, she assisted Douglas Dunn in both the creation of new work for the Opera and the setting of established repertory. Frank has been the recipient of seven NEA Choreography Fellowships, as well as commissions from the Jerome Foundation, DTW, Dance Bay Area, and Meet the Composer, and Arts Silicon Valley. Her work has been performed both in the United States and abroad.
At Stanford, Frank has taught contemporary dance technique, choreographed, and mentored graduate and undergraduate student dance projects. She has organized and advised Stanford’s student participation in the American College Dance Festival as well as other Divisional dance education and performance projects on- and off-campus. She has also organized numerous choreographic commissions by guest artists, frequently acting as Rehearsal Director, setting and maintaining works by choreographers as diverse as Elizabeth Streb, Holly Johnston, Brenda Way, Parijat Desai, Hope Mohr, Janice Garrett, among others.
In 2005, she played a significant role in the development of Stanford Lively Arts’s campus-wide interdisciplinary arts event “Encounter: Merce,” organizing its “Music and Dance by Chance” commissions, as well as an IHUM lecture series on Cunningham’s video dances and concert repertory. She has twice taught Cunningham repertory in Stanford workshop classes. Frank has been instrumental in developing a number of residency projects and artistic collaborations for the TAPS. Highlights include: the repertory reconstruction project of Anna Halprin’s “Myths”; Elizabeth Streb’s “Crash” performed with Streb’s company on Stanford’s Memorial Auditorium stage; and “Cantor:Rewired,” site-specific outdoor iterations of Parijat Desai’s work fusing Southeast Asian classical Indian dance with post-Modern choreographic strategies. In 2011, she assisted in the reconstruction of Anna Sokolow’s signature masterpiece, “Rooms”. Frank also teaches “The Duets Project,” a performance class that builds partnering and ensemble skills through duet repertory. Strongly interested in site-specific performance, Frank has taught the theory course “Figure/Ground: Site-Specific Dance Performance in Outdoor Environments.” Complementing this course, she conceived and organized “Red Rover,” a series of commissioned site-specific dance performances traveling the grounds of Stanford campus. Recent site-specific projects include “Construction Site” and “Action SEQuence: Six Dances on the SEQ”. Frank also instituted the Firework Series, a quarterly informal showing of student work followed by discussion among artists and audience. She also founded and currently organizes the Bay Area Dance Exchange, a day-long intensive hosted by Stanford for Bay Area college and university dance programs; eleven schools gather to share studio practices, creative processes, and performances of works. Recent choreography includes the site-specific duet “Cleave,” from which she developed a video dance with filmmaker David Alvarado, as well as “Sea Change,” a series of duets, and “Escalating Overlap for Figure/Ground.”
Her work “Twilight Composite” was selected for performance at the American College Dance Festival Gala at the Kennedy Center in March 2012. “Branch, Tendril, Vine” and six “Tendril” solos have been created and performed by solo artists in the Bay Area and nationally. “In a Winter Garden,” a contemplative performance collaboration for dance, sculpture, and music was created with composer Jaroslow Kapuscinski, sculptor Will Clift, and musician Ko Ishikawa. “Tools for Traveling Toward the Light,” involved collaborators Erik Flatmo (scenic design) and composer Hassan Eskhatrian (live electronic music score). Her most recent work, “Goat-trout-snake-lizard girl” investigated the intersection of the natural world and women’s core movement patterning in relation to it; composer Tim Russell created the sound score. In addition to her own work, Frank currently tours as a performer in “Doggie Hamlet” by the acclaimed choreographer/director Ann Carlson. Frank has twice served as Acting Director of the former Dance Division of Stanford Drama.
ALETA HAYES | Lecturer; Dance Concentration Advisor
AHAYES1@STANFORD.EDU (650) 725-9330 ROBLE GYM ROOM 111A
Lecturer, Contemporary Dance and Performance; Dance Concentration Advisor Aleta Hayes is a contemporary dancer, choreographer, performer, and teacher. Before her appointment at Stanford, Ms. Hayes taught for eight years at Princeton University in the Program in Theater and Dance and the Program in African American Studies. While at Princeton, Ms. Hayes developed pedagogically innovative courses that combined cultural and performance history, theory, and performance. She has also taught at Wesleyan University, Swarthmore College, and Rutgers University. Ms. Hayes holds an M.F.A. in Dance and Choreography from New York University’s Tisch School of the Arts and a B.A., with Departmental Honors, in Drama, Dance and the Visual Arts from Stanford University (1991).
Aleta Hayes lived and worked in New York City for fifteen years, choreographing solo and group dance pieces, in which her performances often interpolated acting and singing. Highlights include: Hatsheput, presented at the Place Theater, London and St. Marks Church, New York; Tarantantara, presented at Jacob’s Pillow; and La Chanteuse Nubienne (written by playwright Daniel Alexander Jones), performed for Movement Research at Judson Church. Ms. Hayes collaborated, as choreographer and dance/vocal soloist, with the poet Yusef Komunyakaa and composer William Banfield, on Ish-Scoodah, a chamber opera with dance about the nineteenth century African American sculptor, Edmonia Lewis. She also had leading roles in major works by other artists such as Jane Comfort (the trip-hop dance/opera Asphalt, with a book by Carl Hancock Rux) and Robert Wilson (the opera The Temptation of St Anthony, with gospel and other African American spiritual music forms and libretto by Bernice Johnson Reagon). Ms. Hayes has continued to perform in the subsequent international presentations of The Temptation of St Anthony.
In 2004, Ms. Hayes returned to Stanford on a Ford Foundation Resident Dialogues Fellowship through the Committee on Black Performing Arts, for which she created The Wedding Project, a performance piece of multiple genres illustrating the evolution of American social dance through the narrative of African American wedding traditions. She extended this “theater of mixed forms” (the critic Anna Kisselgoff’s term) into community dialogue when she was a 2005 Peninsula Community Foundation Artist-in-Residence at Eastside Preparatory School in East Palo Alto. That residence culminated in The ReMix Project, where she collaborated with students to create and perform a montage of music, monologue, and movement examining student aspirations in a low-income, racially-mixed neighborhood.
Since 2005, Ms. Hayes has had many leading roles as a dancer, singer and actor including, most notably: Suzan-Lori Park’s In the Blood, directed by Prof. Harry Elam, (2005): In the spring of 2006, she choreographed, danced, spoke, and sang a multimedia solo piece, Deianeira (an adoption of Sophocles’ Women of Trachis) created for Ms. Hayes and directed by Drama and Classics Professor Rush Rehm: She created a solo piece, Califia, which developed out of a residency at the Djerassi Resident Artist Program (2007), and a Stanford Humanities Lab Grant/Fellowship (2006) in collaboration with CCRMA-Center for Computer Music and Acoustics (involving human computer interaction): She wrote, sang, acted, and co-directed an original work in the Stanford Drama Department based on T.S. Eliot’s The Waste Land titled, The Waste Land in Black and White (2009).
The Chocolate Heads Movement Band, founded by Hayes in 2009 to the present, is a platform for performers of many genres. The troupe’s name is a descriptor for a “movement driven band” comprised of dancers, musicians, visual artists, performance poets and writers—referencing both dance and social movement as motivating forces for the work. In 2011, the Chocolate Heads were invited to perform at STAN: Society, Technology, Art and Nature—a prototype TED X talk at Stanford University.
Hayes’ latest dance-music performance installation, ‘Singing the Rooms-Performance of the Everyday’, is a collaboration with New York based composer, performer and multi-instrumentalist, Cooper Moore—a dramatic song cycle to be performed by her and collaborators in different domesticated spaces.
STEPHANIE HUNT | Lecturer
SJHUNT@STANFORD.EDU MEMORIAL HALL ROOM 210
Lecturer, Voice; Acting. Stephanie is an actor, director, and teacher of voice and acting. As a core member of the Bay Area theatre company, Word for Word, Stephanie has acted in numerous productions, including Tobias Wolff’s Sanity, Colm Tóibín’s Silence, Upton Sinclair’s Oil! and Susan Glaspell’s A Jury of her Peers. For Word for Word, she directed the productions of Bullet in the Brain and Lady’s Dream by Tobias Wolff, and All Aunt Hagar’s Children by Edward P. Jones, which played at the Z Space before touring France. She has acted with Berkeley Repertory Theatre, Campo Santo, Aurora Theatre, the Magic Theatre, Berkeley Shakespeare, the One Act Theater, and in New York at La Mama. For two years with Pulp Playhouse, Stephanie performed late-night comedy improv with O-Lan Jones and Mike McShane at the Eureka Theater. She has taught voice at ACT in the Summer Training Congress, and at the University of San Francisco, Chabot College, and Sonoma State University. She has directed a number of university productions, most recently at USF, where she directed Twelfth Night, and adapted and directed Alice Munro’s The View from Castle Rock. Her training includes an MFA from the American Conservatory Theater and certification as an Associate Teacher of Fitzmaurice Voicework. Stephanie is committed to creating and teaching ensemble-based theater with a focus on heightened language.
ALEX KETLEY | Lecturer
AKETLEY@STANFORD.EDU (650) 721-3890 ROBLE GYM ROOM 111
Alex Ketley, Lecturer Ballet and Choreography. Alex Ketley is an independent choreographer, filmmaker, and the director of The Foundry. Formally a classical dancer with the San Francisco Ballet, he left the company to create The Foundry as a platform to explore his interests in alternative methods of devising performance. The company has allowed Ketley the freedom to pursue projects that would be difficult to realize within his commissioning career. A few examples of these are; Syntax, an hour long duet systemically using the mechanics of language as an organizing mechanism, Lost Line researched how the application of environment effects the generation of movement and studied in direct response to California’s diverse physical landscapes, Please Love Me jettisoned the structure of performing in a theater context and was developed with a curiosity about how people genuinely connect and experience artwork, and the No Hero Trilogy which was a multi-year project that explored what dance and performance means to the lives of people living throughout rural America. For his independent work as a choreographer he has been commissioned extensively throughout the United States and has received acknowledgement from the Hubbard Street National Choreographic Competition, the International Choreographic Competition of the Festival des Arts de Saint-Saveaur, the Choo-San Goh Award, the Princess Grace Award for Choreography, four Maggie Allesee National Center for Choreography Residencies, the Gerbode-Hewlett Choreographer Award, the Eben Demarest Award, the National Choreographic Initiative Residency, a Kenneth Rainin Foundation New and Experimental Works Grant, three CHIME Fellowships, the Artistry Award from the Superfest International Disability Film Festival, and his work was featured on national television through an invitation from the show So You Think You Can Dance. His pieces and collaborations have also been awarded Isadora Duncan Awards in the categories of; Outstanding Achievement by an Ensemble, Outstanding Achievement in Choreography, Outstanding Achievement by a Company, and nominated for Outstanding Achievement in Visual Design. As an educator he has taught throughout the world and is currently a Lecturer at Stanford University’s Theater and Performance Studies Department and was the founding Resident Choreographer at the San Francisco Conservatory of Dance for 14 years until its closure in 2018.
DAN KLEIN | Lecturer
KLEINIMP@STANFORD.EDU (650) 736-8387 MEMORIAL HALL ROOM 201
Lecturer, Improvisation. Dan Klein has returned to Stanford to teach Improvisational Theater and to direct the Stanford Improvisors. As an undergraduate at Stanford, he was a founding member of the SImps and perennial TA for Patricia Ryan Madson, his predecessor. After graduating, Klein joined the performing company BATS Improv in San Francisco, where he also coached and served as Dean of the BATS Improv School. As a renegade improv teacher, Klein has had appointments at the American Conservatory Theater, the Academy of Art University, the Berkeley Repertory Theater, Dominican University, Vector Conservatory, Menlo School, and has taught corporate workshops for clients like Visa, Cisco, Sun, Oracle, Schwab, Kaiser, Clorox, Cadence, Clif Bar, and others. He is also a member of the Kasper Hauser Comedy Group, authors of SkyMaul, the in-flight catalog parody.
KAY KOSTOPOLOUS | Lecturer
KAYKOST@STANFORD.EDU (415) 810-4924 MEMORIAL HALL ROOM 202
Lecturer, Acting. Kay Kostopoulos directs and teaches acting, acting pedagogy, voice, speech, and Shakespeare in the Department of Theater and Continuing Studies Program at Stanford University. She teaches “Acting with Power” at Stanford’s Graduate School of Business, and has coached for the Knight Fellows Journalism Program, the Clayman Institute for Gender Research, and the Department of English. Kay has created and directed training programs for Stanford’s School of Medicine and co-taught a class for Symbolic Systems in the development of facial recognition for the treatment of autism.
Kay has taught private seminars for live and on-line presentation for Apple, Twitter, Airbnb, Genentech, Cisco, Hitachi, Lippincott, Ernst and Young, First Republic, Stand and Deliver Consulting, The National Association of Speakers, Fripp & Associates, Stanford’s Executive Program for Women and Women in Entrepreneurship Program, eBay’s Global Women’s Conference and Women In Cable Telecommunications. Her work has been featured in “O” magazine. She has also been featured on NPR’s Philosophy Talk radio program for her work on understanding facial emotions in the treatment of Autism.
Kay served as Education Director at The California Shakespeare Festival. At Stanford, Kay performed multiple voices in “Encountering Homer’s Odyssey,” an online classics program through the Stanford/Princeton/Yale Alliance. She has directed and performed in educational and centennial projects for Stanford’s Continuing Studies Program, including the Emily Dickinson, William Saroyan, Charles Darwin, and Robert Frost centennials.
Kay is also a singer and actress who has performed in many Bay Area and regional theaters, including A.C.T., the Magic Theatre, the San Francisco and California Shakespeare Festivals, and Stanford Repertory Theatre. She has additional credits in voiceover, film, and television. Kay leads her own jazz ensemble, Black Olive Jazz. She draws from her acting background and her Mediterranean heritage to establish a unique sound in Jazz, bringing this vision to audiences all around the San Francisco Bay Area. Featuring Kay on vocals with master musicians from the local jazz scene, Kay performs songs from film and the Broadway stage to jazz standards, along with groundbreaking offerings from the “world music” genre.
LAXMI KUMARAN | Lecturer
LAXMIK@STANFORD.EDU MEMORIAL HALL ROOM 146
Lecturer, Production Stage Management. Laxmi Kumaran has been working as a stage manager in the Bay Area since 2005 and is currently the Production Stage Manager at California Shakespeare Theater. Before moving to the Bay Area, Laxmi stage managed in Chicago for a variety of theaters, including the Goodman Theatre and the Court Theatre. Laxmi has taught in the theater departments at San Jose State, Northern Illinois and DePaul universities, and at the University of California Santa Cruz. She currently splits her time teaching at Stanford University and the University of California Berkeley.
ANTON PANKEVICH | Lecturer
ANTOSHA5@STANFORD.EDU ROBLE GYM 147
Lecturer, Ballet. Anton Pankevich received his ballet training at Vaganova Ballet Academy in Russia and later on went to study at School of American Ballet and San Francisco Ballet School. Has danced with New York City Ballet, Dutch National Ballet, Royal Ballet of London, Pacific Northwest Ballet and Ballet San Jose. Has worked as a ballet master and a guest teachers with: English National Ballet, National Ballet of Canada, Wiesbaden Ballet, Stuttgart Ballet and Leipzig Ballet.
RICHARD POWERS | Lecturer
VINTAGE@STANFORD.EDU (650) 468-5862 ROBLE GYM ROOM 147
Lecturer, Social Dance and Dance History. Over 7,000 Stanford students have discovered dance in Richard’s classes, and the waiting lists for Richard’s classes are consistently longer than the enrollment caps. Many of Richard’s social dance students have gone on to take other TAPS dance classes, and have continued a life in dance after Stanford. Richard also teaches workshops across the country and Canada, and has taught dance in Paris, London, Rome, Venice, Spoleto, Prague, Vienna, Geneva, St. Petersburg, Moscow, Kirov, Tokyo and Kyoto, including 22 workshops in Russia, 25 in France, and 27 in Japan.
Powers was selected by the Centennial Issue of Stanford Magazine as one of Stanford University’s most notable graduates of its first century. In 1999 he was awarded the Lloyd W. Dinkelspiel Award for distinctive and exceptional contributions to education at Stanford University. Before leaving Cincinnati for Stanford, Richard was recognized as “Artist of the Year” in the Post-Corbett Awards, Cincinnati’s foremost arts recognition.
In addition to his TAPS courses, Richard has taught courses in period movement for theater for American Conservatory Theater San Francisco, period movement for opera for the San Francisco Conservatory of Music, and period movement for opera for the College Conservatory of Music, University of Cincinnati.
As a noted dance historian and choreographer, Richard choreographed Bill Irwin’s original production of Scapin (off Broadway), was the dance historian for the musical Titanic(Broadway), choreographed ragtime era dance for Faye Dunaway and Richard Widmark in Cold Sassy Tree, choreographed the 19th century ballroom dances for the Warner Bros. film North and South, trained the dancers in 19th century ballroom dances for the Tri-Star film Glory, and choreographed the Victorian ballroom dances for the public television film Mrs. Perkins’ Ball.
Richard’s numerous opera choreographies include the recent production of Alma Deutscher’s Cinderella for Opera San Jose, Mozart’s Don Giovanni, Massenet’s Cendrillon, Monteverdi’s Madrigals of Love and War, Berlioz’s Beatrice and Benedict and Monteverdi’s Orfeo. Theater choreographies include Shakespeare in Hollywood, My Antonia and Arcadiafor TheatreWorks, and Dickens’ A Christmas Carol and Shakespeare’s King Henry VIII for the Cincinnati Playhouse in the Park.
Richard has directed performances of historic dance at the Smithsonian Institution, Henry Ford Museum, the National Governor’s Conference, Detroit Symphony Orchestra, Cincinnati Ballet Company, the Scott Joplin Ragtime Festival, leading the Palace Hotel’s Valentines Ball, St. Moritz, Switzerland (featured on CBS “60 Minutes”); and a performance for Prince Mikasa of Japan. His workshops have been funded by the National Endowment for the Humanities; The Fine Arts Fund; Stage Directors and Choreographers Foundation (New York City); Ohio Arts Council; American Studies Association; The Omega Institute; National Stephen Foster Conference; Goethe House New York; Lincoln Center, N.Y., Danses de Bon Ton, Paris; Arts et Mouvement, Paris; the City of Kharkiv, Ukraine; and the Beseda Dance Theatre in Prague. Publications includeWaltzing: A Manual for Dancing and Living, Redowa Press; Dancing Makes You Smarter, published in Australian Dance Review; and Guidelines for Dance Research, CDSS Journal.
RONNIE REDDICK | Lecturer
RREDDICK@STANFORD.EDU ROBLE GYM ROOM 147
Lecturer, Hip-Hop. Ronnie Reddick is one of the Bay Area’s most dynamic and multi-talented choreographers with an edge of what’s happening in the world of dance and fashion today. This multi-faceted San Francisco based Choreographer/Dancer made his mark by combining Hip Hop, Jazz, Fashion and Theatrics to create one of the most explosive and dynamic styles to hit the dance scene recently, making him one of the most sought after Hip Hop/Contemporary choreographers in the Bay Area and beyond. Along with his busy career, Reddick is also the Choreographer/Show Director at Asia SF. This unique restaurant/dining experience is taking the world by storm and features one of the most beautiful gender illusionists in the world.
In the entertainment world, Reddick has worked with such artists as Michael & Janet Jackson, Deborah Cox, Paula Abdul, Kristine W., Tony, Toni, Tone, Jody Watley, Santana, Kelly Price, RuPaul, Robin Thicke, Snoop Dogg, Overtone Band and M.C. Hammer along with many corporations like Sony, Sony PlayStation, Intuit, Prudential, Gap, Macy’s, MAC Cosmetics, Nordstrom, Starbucks, API, Apple Computer, Google, Yahoo, Xilinx, Sun Micro Systems, BEBE, Univision Television, E*Trade, Coca Cola, and Microsoft.
In addition to teaching at Stanford, Reddick teaches at Santa Clara University and has taught master classes around the world, including Princeton University, Japan, South Korea, Mexico and Canada. He continues to work with, train, and inspire dancers that are now dancing around the world. Reddick also teaches dancers about the business of dance and how to work in today’s world as a professional commercial dancer.
“Technique is only the beginning of what makes a memorable dancer, and we don’t start dancing to end up doing chorus,” says Reddick. “You have got to have that extra something.” It is through his experience and selfless devotion that Ronnie Reddick is inspiring a new generation of talent.
LISA ROWLAND | Lecturer
LROWLAND@STANFORD.EDU MEMORIAL HALL ROOM 201
Lecturer, Improv. Lisa Rowland is a San Francisco-based improviser, teacher and trainer. A mainstage company member at BATS Improv and a founding member of Improv Playhouse of San Francisco, she has performed and taught improvisation on stages throughout the Bay Area, and worldwide. She has headlined at improv festivals from Georgia to Germany, and has been a guest coach in improv communities as far away as Saudi Arabia and New Zealand.
Lisa graduated from Stanford in 2005 where she was a member of the Stanford Improvisors. She was lucky enough to study under professor emerita Patricia Ryan Madson, author of Improv Wisdom: Don’t Prepare, Just Show Up (which Lisa highly recommends you procure and read right away). Lisa joyfully joined the Stanford faculty teaching TAPS 103 – Introduction to Improvisation – in 2014.
In addition to teaching theatrical improvisation, she also leads improv-based trainings for professional teams focusing on communication, collaboration and creativity. She is a communication skills trainer with the SF-based company Speechskills, and is also the co-host of a podcast entitled Monster Baby: A Curious Romp Through The Worlds of Mindfulness and Improvisation.
TONY SHAYNE | Lecturer
TSHAYNE@STANFORD.EDU MEMORIAL HALL ROOM 146
Lecturer, Lighting Design, Technical Theater & Producing. Tony received his BFA at University of Southern California & MFA UC Davis in Lighting & Scenic Design. He has worked on National & International productions including tours for dance including ODC Dance, LA Contemporary Dance Company, Sheetal Gandhi & Rosanna Gamson. His film and television credits include animation lighting for Family Guy (Fox) and Holidaze (ABC). He has served as the lighting intern at the San Francisco Opera, San Francisco Ballet, Houston Ballet, and LA Opera. Currently, Tony is a freelance Production Manager working for acclaimed organizations like Music Academy of the West and Opera Parralle. He is the founder and lead consultant for Theory & Practice, a consulting company he started to encourage and uplift the productions of small non-profit dance.
CHRISTOPHER GROBE | Visiting Scholar
MEMORIAL AUDITORIUM ROOM 107 GROBE@STANFORD.EDU
Visiting Scholar. Christopher Grobe is Associate Professor of English at Amherst College and, during the 2019-2020 academic year, an ACLS-Burkhardt Fellow in residence at Stanford. During that residency, he will be working on a project called Imitation Games: Actors, Robots, and the Art of Seeming Human. This book will tell the conjoined cultural history of two experiments in the art of seeming human: realist acting and artificial intelligence. He is the author of The Art of Confession: The Performance of Self from Robert Lowell to Reality TV (NYU Press, 2017) and of numerous essays on such topics as: the performance culture surrounding literature, the history of technology onstage, and the theatricality of contemporary American politics. Website: www.cgrobe.com
HARUNA LEE | 20/21 Mohr Visiting Artist
Haruna Lee (TAPS MOHR VISITING ARTIST 20-21) is a Taiwanese-Japanese-American theater maker whose artistic process is rooted in a liberation-based healing practice. Their plays are often portals into personal and collective stories navigating transcultural experiences and memories, as well as conflicts that arise when grappling with the simultaneity, contradictions and pluralities of those lived experiences. Through different artistic and teaching modalities, they promote arts activism and emergent strategies for the theater through process-based collaborations that directly challenge coloniality and legacies of power. Between 2010-2019, Lee helmed the work of their company harunalee, an ensemble of theater makers and designers who created experimental plays and performances written and directed by Lee. With an eye for handmade and craft objects, they often created epic visual landscapes and immersive environments together. Lee’s standalone play Suicide Forest (Bushwick Starr & Ma-Yi Theater Company) was published by 53rd State Press and hailed by the New York Times as “Vivid, haunted, heart-stingingly tender and explicitly personal…A wild ride of a production” (NYT Critic’s Pick) and appeared on New York Magazine/Vulture’s top 10 shows of 2019. Other plays include plural (love) (New Georges, Soho Rep Writer/Director Lab), and Memory Retrograde (The Public’s Under the Radar Festival Incoming! Series, Ars Nova Makers Lab, Brooklyn Arts Exchange). Lee is a recipient of a MacDowell Fellowship, A Map Fund grant, Lotos Foundation Prize for Directing, a New Dramatists Van Lier Fellowship, and has received support from the Mental Insight Foundation, FCA, NYSCA, and the NEA. As a performer, they’ve worked with Aya Ogawa, Minor Theater, The Drunkard’s Wife, Taylor Mac, Mac Wellman, Rachel Chavkin, César Alvarez, Kate Benson & Lee Sunday Evans, and Anohni- among many others. They were a member of the 2019 artEquity cohort, a national facilitation training for artists and activists. Lee has taught playwriting and performance at the Experimental Theater Wing and Playwrights Horizons at NYU, PACE, CUNY, and Abrons Arts Center. They received their MFA from Brooklyn College for Playwriting, and a BFA from NYU Tisch Experimental Theater Wing. harunalee.com