• PROFESSORS +
    ARTISTS-IN-RESIDENCE
PROFESSORS

bjakov@stanford.edu | (650) 723-3512 | roble gym room 105
Branislav Jakovljevic
Professor and Department Chair. Avant-garde and Experimental Theater, Performance Theory, Performance and Politics. Branislav Jakovljevic is the author of Alienation Effects: Performance and Self-Management in Yugoslavia 1945-1991 (University of Michigan Press 2016), winner of the 2017 ATHE Outstanding Book Award, and of the Joe A. Callaway Prize for the Best Book on Drama or Theater for 2016-17. His most recent book, Smrznuti magarac i drugi eseji (Frozen Donkey and Other Essays, 2017), was published in Serbian language in Belgrade.

Jakovljevic (pronounced Ya-kov-le-vich) publishes widely on subjects ranging from history of modernist theater, to experimental performance, to avant-garde and conceptual art, to contemporary performance. His articles appeared in leading scholarly journals in the United States (Theatre Journal, TDR, PAJ, Art Journal, Art Margins, Theater) and in Europe (Serbia, United Kingdom, Spain, Sweden, Croatia, Poland, and Belgium). In 2013 he chaired the 19th annual Performance Studies international conference "Now Then: Performance and Temporality" at Stanford University.

His first book Daniil Kharms: Writing and the Event was published by Northwestern University Press in 2009.
salsaber@stanford.edu | roble gym room 112
Samer Al-Saber
Assistant Professor; Theory; History; Criticism; Middle Eastern Theatre; Islam and the Arts; Arab Theatre; Directing; Historiography; Postcolonialism; Nationalism; Ethnography; Performance and Politics. At Stanford University, Samer Al-Saber is affiliated with the Center for the Comparative Study of Race and Ethnicity, and the Abbasi Program in Islamic Studies. Before joining the faculty at TAPS, he has taught a wide range of topics in theory, history, and performance, including various periods in theatre history from antiquity to the present, Conflict and Theatre, Arab Theatre and Culture, Palestinian Theatre, Performing Arabs, Staging Islam and American Politics, Orientalism and the Victorians, Workshops in Theatre, Play Analysis, Introduction to Theatre, and Acting. He received his MFA from the University of Calgary and his PhD from the University of Washington. His recent scholarship focuses on Palestinian theatre in Jerusalem. His work appeared in Theatre Research International, Alt.Theatre, Performance Paradigm, Critical Survey, Theatre Survey, Jadaliyya, Counterpunch, This Week In Palestine, and various edited volumes, such as Palgrave’s Performing For Survival, Edinburgh Press’ Being Palestinian, and the Freedom Theatre’s recently published Performing Cultural Resistance in Palestine. He is the co-editor of the anthology Stories Under Occupation and Other Plays from Palestine, forthcoming from the In Performance series by Seagull Press. He has previously held the positions of Assistant Professor of Theatre Studies at Florida State University and Andrew W. Mellon Postdoctoral Fellow at Davidson College.
jbrody1@stanford.edu | (650) 725-9109 | roble gym room 107
Jennifer Brody
Professor of Theater & Performance Studies and Director of CCSRE; Cultural Studies, Gender and Sexuality Studies, Race Theory, Performance Studies. Jennifer DeVere Brody was educated at Vassar College, Oxford and the University of Pennsylvania. She held the Weinberg College Professorship at Northwestern University and, before coming to Stanford in 2011. Her research has been supported by the Royal Society for Theatre Research in Great Britain, the Ford and Mellon Foundations and she won the Monette-Horwitz Prize for Independent Research Against Homophobia. Her books, both published by Duke University Press, include Impossible Purities: Blackness, Femininity and Victorian Culture (1998) and Punctuation: Art, Politics and Play (2008). She teaches classes on race and theatre in the US and Britain from 1800 to the present, feminist and queer theory, food studies, visual culture and film. She has served as the President of the Women and Theater Association, on the Board of Women and Performance, and is the co-Editor of GLQ. Her essays and reviews have appeared in numerous journals including Signs, Callaloo, Theater Journal and TDR. She has co-edited James Baldwin's Little Man, Little Man with Prof. Nicholas Boggs (2018) and she is writing a new book on race, sculpture and performance. She Chaired the TAPS Department from 2012-15 and has directed the Center for Comparative Studies of Race & Ethnicity since 2016.
helam@stanford.edu | (650) 725-3964 | sweet hall room 428
Harry Elam, Jr.
Vice Provost for Undergraduate Education; Olive H. Palmer Professor in the Humanities; Robert and Ruth Halperin University Fellow for Undergraduate Education; Director of the Institute for Diversity in the Arts. Harry J. Elam, Jr. is the Olive H. Palmer Professor in the Humanities and the Freeman-Thornton Vice Provost for Undergraduate Education at Stanford University. He is author of and editor of seven books, Taking It to the Streets: The Social Protest Theater of Luis Valdez and Amiri Baraka; The Past as Present in the Drama of August Wilson (Winner of the 2005 Errol Hill Award from the American Society of Theatre Research); and co‑editor of four books, African American Performance and Theater History: A Critical Reader; Colored Contradictions: An Anthology of Contemporary African American Drama; The Fire This Time: African American Plays for the New Millennium; and Black Cultural Traffic: Crossroads in Performance and Popular Culture. His articles have appeared in American Drama, Modern Drama, Theatre Journal, Text and Performance Quarterly as well as journals in Israel, Taiwan and Poland and several critical anthologies. Professor Elam is also the former editor of Theatre Journal and on the editorial boards of Atlantic Studies, Journal of American Drama and Theatre, and Modern Drama. He was elected to the College of Fellows of the American Theatre in April 2006. In August 2006 he won the Betty Jean Jones Outstanding Teaching Award from the American Theatre and Drama Society and in November 2006 he won the Distinguished Scholar Award form the American Society of Theatre Research. In July 2014, Elam received the Association of Theatre in Higher education’s highest award for theatre scholars, the Career Achievement Award. In addition to his scholarly work, he has directed professionally for over twenty years: most notably, he directed Tod, the Boy Tod by Talvin Wilks for the Oakland Ensemble Company, and for TheatreWorks in Palo Alto California, he directed Jar the Floor by Cheryl West and Blues for an Alabama Sky by Pearl Cleague, which was nominated for nine Bay Area Circle Critics Awards and was the winner of DramaLogue Awards for Best Production, Best Design, Best Ensemble Cast and Best Direction. He has directed several of August Wilson's plays, including Radio Golf, Joe Turner's Come and Gone, Two Trains Running, and Fences, the latter of which won eight Bay Area “Choice” Awards. At Stanford he has been awarded five different teaching awards: The ASSU Award for Undergraduate Teaching, Small Classes (1992); the Humanities and Sciences Deans Distinguished Teaching Award (1993); the Black Community Service Center Outstanding Teacher Award (1994), The Bing Teaching Fellowship for Undergraduate Teaching (1994-1997); The Rhodes Prize for Undergraduate Teaching (1998). He received his AB from Harvard College in 1978 and his Ph.D. in Dramatic Arts from the University of California Berkeley in 1984.
Young Jean Lee
Associate Professor. Young Jean Lee is a writer, director, and filmmaker who has been called “the most adventurous downtown playwright of her generation” by the New York Times and “one of the best experimental playwrights in America” by Time Out New York. She has written and directed ten shows in New York with Young Jean Lee's Theater Company, and toured her work to over thirty cities around the world. She has written a screenplay commission for Plan B/Paramount Pictures, and has presented her short films at the Sundance Film Festival, Locarno International Film Festival, and BAMcinemaFest. Lee is the recipient of a Guggenheim Fellowship, a Prize in Literature from the American Academy of Arts and Letters, a PEN Literary Award, a United States Artists Fellowship, two OBIE Awards, a Doris Duke Performing Artist Award, and a Foundation for Contemporary Arts grant. She has also received funding from the National Endowment for the Arts, the New York State Council on the Arts, the Rockefeller MAP Fund, the Andrew Mellon Foundation, Creative Capital, the Greenwall Foundation, the Jerome Foundation, and the New York Foundation for the Arts. Her play Straight White Men will have its Broadway debut at Second Stage in 2018. She is currently working on her new play Safety Net, a commission from Second Stage that will have its Broadway premiere in 2019. She teaches at Stanford and Yale.
dlooser@stanford.edu | Roble Hall Room 141
Diana Looser
Assistant Professor. Diana Looser’s research interests lie in the following areas: Historiographic approaches to performance; Ethnographic approaches to performance; Postcolonial, transnational, and intercultural performance; Performance from the Pacific Islands region (Oceania). Diana’s primary research examines theatre and related modes of performance as ways to explore aesthetic, social, political, and historical concerns throughout the broader Pacific Islands region, placing in dialogue works from various geographic, linguistic, and disciplinary domains. She researches contemporary Pacific Islands performance that has flourished throughout the region since the 1960s, as well as historical performance in Oceania with a concentration on the ethnographic and artistic interface between western and indigenous representations of the Pacific from the eighteenth century to the early twentieth century. Her first monograph, Remaking Pacific Pasts: History, Memory, and Identity in Contemporary Theater from Oceania (University of Hawai‘i Press, 2014), won the ADSA Rob Jordan Prize in 2016. Her current book project, Moving Islands: Contemporary Performance and the Global Pacific, examines the international connections forged by artistic performances from Oceania in the first two decades of the twenty-first century. Diana’s essays have appeared in edited collections and in periodicals such as Theatre Journal, Theatre Survey, Theatre Research International, Contemporary Theatre Review, Performance Research, and The Contemporary Pacific, and she is the Book Review Editor for Modern Drama.
jmenon@stanford.edu | (650) 723-2682 | Roble Gym Room 143
Jisha Menon
Associate Professor, Postcolonial Theory and Performance Studies. Jisha Menon teaches courses at the intersection of postcolonial theory and performance studies. She received her M.A. in English Literature from Jawaharlal Nehru University, New Delhi and her Ph.D in Drama from Stanford University. Her research interests lie at the intersection of religion and secularity, gender and nationalism, cosmopolitanism and globalization. She has published essays on the Indian partition, diasporic feminist theatre, political violence in South Asia, transnational queer theory, and neoliberal urbanism. She is co-editor, with Patrick Anderson, of a volume of essays, Violence Performed: Local Roots and Global Routes of Conflict (Palgrave-Macmillan Press, 2009) that explores the coimbrication of violence, performance, and modernity in a variety of geopolitical spaces. Her book, Performance of Nationalism: India, Pakistan and the Memory of Partition (Cambridge UP, 2013), considers the affective and performative dimensions of nation-making. The book recuperates the idea of "mimesis" to think about political history and the crisis of its aesthetic representation, while also paying attention to the mimetic relationality that undergirds the encounter between India and Pakistan. She is also at work on a second project, Pedestrian Acts: Performing the City in Neoliberal India, which considers new narrations of selfhood that are produced at the intersection of neoliberal state, global market and consumer fantasy.
hparis@stanford.edu | (650) 725-3494 | Roble Gym Room 142
Helen Paris
Associate Professor, Performance Making. Helen Paris is an Associate Professor, Performance Making and award-winning artist who has been making performance work for twenty-five years. Her research interests include: Live Art, solo performance, autobiography, intimacy and proximity in performance, site specific performance, the senses in performance and audience / performer relationships. She received her doctorate from the University of Surrey in 2000, exploring notions of the virtual and the visceral in live performance. Her writing has appeared in books and journals including Performance Research, Women and Performance, Total Theatre, Theatre/Public and Tessera. Her recent book, is entitled Performing Proximity. London: Palgrave Macmillan. (2014).

Paris is artistic director of Curious theatre company. Her solo performances include Family Hold Back, which has toured extensively in the UK, and internationally, including Sydney Opera House, Guling Street Avant-Garde Theater in Taipei and the Ke Center for the Contemporary Arts, Shanghai. With her company Curious, she has produced over 40 projects in a range of media including live performance, installation and film. The company’s work has been presented and supported by events and institutions including: London 2012 Cultural Olympiad, the Royal Shakespeare Company, the Institute for Contemporary Art, London, the British Council Showcase at the Edinburgh Festival; international conferences such as IETM, PSi and ATHE; and film festivals such as Winterthur, the London Short Film Festival and Hors Pistes at the Pompidou Center. Curious is produced and managed by Artsadmin, London. (www.placelessness.com)

pphelan@stanford.edu | (650) 725-7017 | Roble Gym Room 103A
Peggy Phelan
Ann O’Day Maples Chair in the Arts; Professor of Theater & Performance Studies and English; Denning Family Director of the Stanford Arts Institute; TAPS Director of Graduate Studies. My work is interdisciplinary and I like to call myself “a generalist” because I am interested in a wide range of issues, methods, and art forms. I view my work as a scholar as an effort to name and give voice to things that are hard to comprehend but worth struggling to grasp and articulate. She teaches classes about feminism, poetry, visual art, performance theory, adoption literature, psychoanalysis, queer theory, and American family drama. Most recently, I have edited, contributed to, and co-curated with Richard Meyer, Contact Warhol: Photography Without End (MIT Press and Cantor Art Center, 2018).

My other work includes: Unmarked: the politics of performance (Routledge, 1993); Mourning Sex: performing public memories (Routledge, 1997; honorable mention Callaway Prize for dramatic criticism 1997-1999); the survey essay for Art and Feminism, ed. by Helena Reckitt (Phaidon, 2001, winner of “The top 25 best books in art and architecture” award, amazon.com, 2001); the survey essay for Pipilotti Rist (Phaidon, 2001); and the catalog essay for Intus: Helena Almeida (Lisbon, 2004). She edited and contributed to Live Art in Los Angeles: Performance in Southern California, 1970-1983 (Routledge, 2012), and contributed catalog essays for Everything Loose Will Land: 1970s Art and Architecture in Los Angeles (Mak Center, 2013), Haunted: Contemporary Photography, Video, and Performance (Guggenheim Museum, 2010); WACK! Art and the Feminist Revolution (Museum of Contemporary Art, 2007); and Andy Warhol: Giant Size (Phaidon, 2008), among others.

I also was co-editor, with the late Lynda Hart, of Acting Out: Feminist Performances (University of Michigan Press, 1993; cited as “best critical anthology” of 1993 by American Book Review); and co-editor with Jill Lane of The Ends of Performance (New York University Press, 1997). She contributed an essay to Philip Ursprung’s Herzog and De Meuron: Natural History (CAA, 2005).

I have been a fellow of the Humanities Institute, University of California, Irvine; and a fellow of the Humanities Institute, The Australian National University, Canberra, Australia. I served on the Editorial Board of Art Journal, one of three quarterly publications of the College Art Association, and as Chair of the board.

I am a past President and Treasurer of Performance Studies International, the primary professional organization in the field. I have been a fellow of the Getty Research Institute and the Stanford Humanities Center. I won a Guggenheim Fellowship in 2004.

I have chaired the Department of Performance Studies at New York University and the Drama Department at Stanford University. I am currently the Denning Family Director of the Stanford Arts Institute.
mjrau@stanford.edu | roble gym room 142
Michael Rau
Assistant Professor, Performance-making; Theater-making Concentration Advisor. Michael Rau is a live performance director specializing in new plays, opera, and digital media projects. He has worked internationally in Germany, Brazil, the UK, Ireland, Canada, and the Czech Republic. He has created work in New York City at Lincoln Center, The Public Theater, PS122, HERE Arts Center, Ars Nova, The Bushwick Starr, The Brick, 59E59, 3LD, and Dixon Place. Regionally, his work as been seen at the Ingenuity Festival in Cleveland OH, and the American Repertory Theatre in Cambridge, MA. He has developed new plays at the Eugene O’Neill National Playwrights Conference, the Lark and the Kennedy Center. Michael Rau is a recipient of fellowships from the Likhachev Foundation, the Kennedy Center, and the National New Play Network. He has been a resident artist at the Orchard Project, E|MERGE, and the Tribeca Performing Arts Center. Rau is a Forward/Story fellow and a speaker at Books in Browsers, StoryCode, and RailsConf2016. He has been an associate director for Anne Bogart, Les Waters, Robert Woodruff, and Ivo Van Hove. He is a New York Theater Workshop Usual Suspect and a member of the Lincoln Center Directors Lab. He is a graduate of Wesleyan University and received his MFA in Theater Directing from Columbia University.
mrehm@stanford.edu | (650) 723-0485 | Memorial Hall Room 208
Rush Rehm
Professor, classical drama. In its 21st year, SRT is a professional company that presents plays on campus and on tour internationally during the academic year, and also produces a summer festival based on a major playwright or theme. In October 2018, Rehm directed SRT's Four Sided Triangle, his adaptation of Ivan Turgenev’s A Month in the Country, for the Turgenev bicentennial festival in St. Petersburg, Russia. In February 2019, he directed Democratically Speaking at Marines Memorial Theater in San Francisco. In July and August, 2019, SRT is collaborating with Planet Earth Arts to present our 21st summer festival, The Environment and Social Justice, featuring three new productions. Visit http://stanfordreptheater.com/

Rehm’s books include Aeschylus’ Oresteia: A Theatre Version (Melbourne 1978); Greek Tragic Theatre (Routledge: London 1992, paper 1994, modern Greek translation 1999; a new edition entitled Understanding Greek Tragedy came out in 2016); Marriage to Death: The Conflation of Marriage and Funeral Rituals in Greek Tragedy (Princeton 1994, paper 1996); The Play of Space: Spatial Transformation in Greek Tragedy (Princeton 2002); and Radical Theatre: Greek Tragedy and the Modern World (Duckworth: London 2003). His Eurpides: Electra, the final volume in the Duckworth Companion to Greek and Roman Drama series, will appear in 2021. Recent contributions to edited volumes include Looking at Antigone (Bloomsbury), Aeschylus’ Tragedies: The Cultural Divide and the Trauma of Adaptation (Brill), The Brill Companion to Euripides, The Brill Companion to Sophocles, The Cambridge Companion to Greek and Roman Theatre, The Oxford Handbook of Greek Drama in the Americas, Rebel Women (Methuen), Aeschylus’ Agamemnon in Performance (Oxford), Sophocles and the Greek Language (Brill), Antigone’s Answer (Helios Supplement), and Post-Colonial Classics (Oxford). As well as courses on ancient theater and culture, Rehm teaches courses on contemporary politics, the media, and U.S. imperialism.
jross@stanford.edu | (650) 725-0735 | Roble Gym Room 109
Janice Ross
Dance studies, dance history, dance in prisons. Janice Ross is a Professor in the Department of Theater and Performance Studies and former Faculty Director of ITALIC, Immersion In The Arts Living In Culture, freshman residential program. Former director of the Dance Division, she has a BA with Honors from UC Berkeley and MA and PhD degrees from Stanford. She teaches classes in Dance Studies, Dance History, Dance in Prison and Performance and Prisons. She is the author of four books including Like a Bomb Going Off: Leonid Yakobson and Ballet as Resistance in Soviet Russia (Yale University Press, 2015). Anna Halprin: Experience as Dance, (University of California Press 2007), winner of a de la Torre Bueno Award 2008 Special Citation, San Francisco Ballet at 75 (Chronicle Books 2007) and Moving Lessons: The Beginning of Dance in American Education, (University of Wisconsin 2001). Her essays on dance have been published in numerous anthologies including On Stage Alone, ed. Claudia Gittleman, (Univ. of Florida Press, 2012), Dignity in Motion: Dance, Human Rights and Social Justice, ed. by Naomi Jackson (Scarecrow Press 2008), Perspectives on Israeli and Jewish Dance, ed. Judith Brin Ingber, (Wayne State University Press, 2008), The San Francisco Tape Music Center: 1960s Counter-culture and the Avant-Garde, Performance and Ritual, edited by Mark Franco (Routledge 2007), Everything Was Possible (Re) Inventing Dance in the 1960s, edited by Sally Banes (University of Wisconsin Press 2003), Caught by Surprise: Essays on Art and Improvisation, edited by Ann Cooper Albright and David Gere (Wesleyan University press 2003). Her awards include Guggenheim and Fulbright Fellowships, two Stanford Humanities Center Fellowships, Jacobs' Pillow Research Fellowship, New York University Center for Ballet and the Arts 2018-19 Fellowship, as well as research grants from the Iris Litt Fund of the Clayman Institute for Research on Women and Gender, the Memorial Foundation for Jewish Culture and the Djerassi Resident Artists Program. For ten years she was the staff dance critic for The Oakland Tribune and for twenty years a contributing editor to Dance Magazine. Her articles on dance have appeared in numerous publications including The New York Times and The Los Angeles Times. She is past President of the international Society of Dance History Scholars and past President of the Dance Critics Association and a former delegate to the American Council of Learned Societies.
mwsmith1@stanford.edu | Bldg 260-204
Matthew Wilson Smith
Professor of Theater & Performance Studies and German Studies ( B.A. Brown University, 1993; M.A. University of Chicago, 1995; M.A., Ph.D. Columbia University 2002). Matthew Wilson Smith's interests include modern theatre and relations between science, technology, and the arts. His book The Nervous Stage: 19th-century Neuroscience and the Birth of Modern Theatre (Oxford, 2017) explores historical intersections between theatre and neurology and traces the construction of a “neural subject” over the course of the nineteenth century. It was a finalist for the George Freedley Memorial Award of the Theater Library Association. His previous book, The Total Work of Art: From Bayreuth to Cyberspace (Routledge, 2007), presents a history and theory of attempts to unify the arts; the book places such diverse figures as Wagner, Moholy-Nagy, Brecht, Riefenstahl, Disney, Warhol, and contemporary cyber-artists within a coherent genealogy of multimedia performance. He is the editor of Georg Büchner: The Major Works, which appeared as a Norton Critical Edition in 2011, and the co-editor of Modernism and Opera (Johns Hopkins, 2016), which was shortlisted for an MSA Book Prize. His essays on theater, opera, film, and virtual reality have appeared widely, and his work as a playwright has appeared at the Eugene O’Neill Musical Theater Conference, Richard Foreman’s Ontological-Hysteric Theater, and other stages. He previously held professorships at Cornell University and Boston University as well as visiting positions at Columbia University and Johannes Gutenberg-Universität (Mainz).
ARTISTS-IN-RESIDENCE

amy.freed@stanford.edu | (650) 736-4154 | Memorial Hall Room 203
Amy Freed
Artist-in-Residence, Playwriting; Interim Director of Undergraduate Studies; Acting Concentration Advisor. Amy Freed is the author of Shrew!, The Monster Builder, Restoration Comedy, The Beard of Avon, Freedomland, Safe in Hell, The Psychic Life of Savages, You, Nero and other plays. She 's a recipient of the Charles McArthur Playwriting Award (D.C.) The New York Arts Club's Joseph Kesserling Award, a several-times winner of the LA Critic's Circle Award, the Bay Area Critic's Circle Award and is a Pulitzer Prize finalist. Her work has been seen at South Coast Repertory Theater, New York Theater Workshop, Seattle Repertory, American Conservatory Theater, Yale Rep, California Shakespeare Theater, Berkeley Rep, the Goodman, Playwright's Horizons, Woolly Mammoth, Arena Stage and other theaters around the country. She has held playwriting residencies at South Coast Rep, the Arena Stage, and San Diego's Old Globe. She is currently working on a commission for South Coast Rep.

Freed received a BFA in theater from Southern Methodist University, and an MFA in Acting from the American Conservatory Theater. She has taught acting and directed for ACT's MFA program. She's also taught playwriting at San Francisco State and for the MFA playwriting program of UCSD.

She currently serves as Artist-in-Residence at Stanford University, where she teaches acting and playwriting.
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amarats@stanford.edu
Amara Tabor-Smith
Artist-in-Residence, Dance.  Amara is an Oakland based choreographer/performance maker who describes her work as Afro Futurist Conjure Art. Her dance making practice utilizes Yoruba spiritual ritual to address issues of social and environmental justice, race, gender identity and belonging. She is a 2018 USA Artist Fellow, a 2017 UBW Choreographic Center Fellow, and is a 2016 recipient of the Creative Capital Grant along with collaborator Ellen Sebastian Chang. Amara is the artistic director of Deep Waters Dance Theater and was the co artistic director of Headmistress with Sherwood Chen. In addition to her own work, she has performed and collaborated with dance and performance artists such as, Ed Mock, Joanna Haigood, Ana Deveare Smith, Marc Bamuthi Joseph, and she is the former associate artistic director and company member of Urban Bush Women. Other grants and awards include, Headlands Center for the Arts, Kenneth Rainin Foundation grant, Wallace Alexander Gerbode grant, and ODC Theater Artist in Residence (2013-15). Amara received her MFA in Dance from Hollins University. www.deepwatersdance.com. Headshot credit: Bethanie Hines.

EMERITUS PROFESSORS

aposto@stanford.edu
Jean-Marie Apostolides
Professor Emeritus, Classical and Contemporary French Theater. Jean-Marie Apostolidès has been teaching at TAPS from 1993 to 2015. As a playwright, his texts have been produced in France, Canada, and the United States. Over the last fifteen years, he has staged a dozen plays at Stanford and in the Bay Area, both classical and contemporary, particularly from the European repertoire. In his productions, he has focused on the notion of mise-en-tableaux, which complements the traditional techniques of mise-en-scène with silent tableaux aimed at visually translating the unconscious of the text analyzed from a theoretical perspective. Among his books are: Le roi-machine (1981), La nauf des fous (1982), Les métamorphoses de Tintin (1984/2003/2006), Le Prince sacrifié (1985), L'affaire Unabomber (1996), Les tombeaux de Guy Debord (1999/2006) L'audience (2001), Traces, revers, écart (2001), Héroïsme et victimisation (2003/2008), Sade in the Abyss (2003), Tintin et le mythe du surenfant (2003), Cyrano, qui fut tout et qui ne fut rien (2006), Il faut construire l'hacienda (2006), Ivan Chtcheglov, profil perdu (2006), Dans la peau de Tintin (2010), Buvons, buvons et moquons-nous du reste (2011), Konoshiko (2012), Trois solitudes : D.A.F. de Sade, Marie Lafarge, Josefa Menéndez (2012), L'Execution du testament de Sade (2014), Debord le naufrageur (2015).
eddelman@stanford.edu
William Eddelman
Associate Professor Emeritus, theater design and history. William Eddelman is an Associate Professor Emeritus at Stanford TAPS. He received MA and PhD degrees from Stanford in Theatre History and Design, and completed his dissertation research on the development of landscape on the 17th and 18th century Italian opera stages with a United States Fulbright Scholarship at the Theatre Institute of the Giorgio Cini Foundation in Venice, Italy. He was also a member of the Master Classes, sponsored by Friedelind Wagner, at the Wagner Festival in Bayreuth, Germany in 1965. During his teaching career at Stanford, he combined the artistic and the academic teaching classes in theater history, art history, musical theater, cultural history, theater aesthetics, costume and scenic design, dramatic literature, theater and politics, and the psychology of clothes (“Mapping and Wrapping the Body”). He taught several times at the Stanford Center in Berlin, focusing on the culture of the Weimar Period, contemporary German drama and German modernity. He has taught seventeen various classes for the Continuing Studies program at Stanford, participated in several Stanford Summer Theatre symposiums, and has led travel study tours to Northern Italy with an emphasis on Palladian villas and Venice with a focus on Venetian Carnivals for the Stanford Alumni Association. In addition to designing sets and costumes for numerous Stanford productions, he has also designed for professional companies in the San Francisco Bay Area. These productions have included operas, dramas, musicals and experimental texts. He has taught various classes at two fashion institutes in San Francisco, and delivered lectures and presentations for a variety of local cultural organizations and institutions. During his first Stanford sabbatical in 1977-78 he was in Europe for 10 months and saw 135 theatrical productions in fourteen cities from Moscow to London at a time when the great European theatre companies were at their peak. This exposure served as an intellectual and artistic educational background beyond the world of academia and gave him the opportunity to develop his expertise in international theater design. Being a specialist in international theatrical design, Professor Eddelman established the Theatrical Design Collection at the Museum of Performance and Design (MPD) in San Francisco and while on the board of MPD gave lectures and curated exhibits. He is currently on the board of the Achenbach Foundation at the Legion of Honor in San Francisco and is involved in building a research library and design collection in International Theatre Design for the Achenbach Collection of the Fine Arts Museums of San Francisco. He is teaching classes at the Fromm Institute in San Francisco and Stanford Continuing Studies and is preparing future lectures on such subjects as design interpretations of Wagner’s “Ring," “The Eighteenth Century Grand Tour: From London to Naples” and “Incognito: Unmasking Venetian Carnivals.”
mram@stanford.edu | Memorial Auditorium Room 100
Michael Ramsaur
Professor Emeritus, Lighting Design. Michael Ramsaur served Stanford for over 40 years as Director of Production and Professor of Lighting Design. In addition to his teaching responsibilities for the Department of Theater and Performance Studies he is a Guest Professor at Novi Sad University, Novi Sad Serbia and an Honorary Professor at the Central Academy of Drama, Beijing in addition to giving lectures and lighting design workshops in over 20 countries. He has served eight years as the Chair of the Education Commission of the International Organization of Scenographers, Theatre Architects, and Technicians (OSTAT) and as President of OISTAT. He is a long time member of United States Institute for Theater Technology (USITT) and Fellow of Institute (USITT). He is also a member of the United Scenic Artist Association (USAA) Local 829 (Lighting Design), the International Alliance of Theatrical Stage Employees (IATSE) Local 16, the Illumination Engineering Society of North America (IESNA), the International Association of Lighting Designers (IALD), the British Association of Lighting Designers (ALD), the Taiwan Association of Theater Technicians (TATT), and the German Theater Theater Association (DTHG). He has had a 40 year career in theater including serving as a lighting designer for many theater companies internationally and locally. Examples of his designs have been exhibited at two United States Institute for Theater Technology Design Expositions, a theater design exhibit at the Triton Museum San Jose and at theatrical design exhibitions in Prague and Shanghai. He has been awarded Outstanding Lighting Design awards from the San Francisco Bay Area Critics Association, Dean Goodman Award, and Drama Logue Award as well as receiving a Fulbright grant.
rayner@stanford.edu
Alice Rayner
Professor, critical theory and dramatic literature. Alice Rayner teaches graduate and undergraduate courses in dramatic literature and theory. Her research interests include the phenomenology of theater as well as comedy, genre theory, rhetoric, psychoanalysis, and hermeneutics in the analysis of texts and performance. Published books include Comic Persuasion (University of California Press), To Act, To Do, To Perform: Drama and the Phenomenology of Action (University of Michigan Press) and Ghosts: Death’s Double and the Phenomenon of Theatre (University of Minnesota Press, 2006). Her essays on technology and culture have been included in Discourse as well as in Michal Kobialka’s book, Of Borders and Thresholds, and Una Chaudhuri and Elinor Fuchs’ Landscape and Theatre. She has written on Harold Pinter for Theatre Journal as well as the collection Harold Pinter at 60 (ed. Katherine Burkman, Indiana). Three essays on Suzan-Lori Parks, co-authored with Harry Elam, have appeared in Theatre Journal as well as in Performing America (ed. Jeffrey Mason and J. Ellen Gainor) and Staging Resistence (ed. Jeanne Colleran and Jenny Spencer). Also published in Theatre Journal is “Rude Mechanicals and The Specters of Marx,” a theory of practical labor in theater. Other essays include a study of metaphor and performance in Études Théâtrales/Essays in Theatre; on Stanislavksy and A.C. Bradley in Theatre Quarterly, “The Audience...and the Ethics of Listening,” an examination of the responsibilities of an audience; “Grammatic Action and the Art of Tautology,” a theory of action derived from Hamlet (both in The Journal of Dramatic Theory and Criticism); and “All Her Children: Caryl Churchill’s Furious Ghosts,” a study of the unborn in Churchill’s plays (in Sheila Rabillard’s Essays on Churchill). Her article on stage objects in relation to Heidegger’s essay, The Thing, appears in the collection, Staging Philosophy, (ed. David Krasner and David Saltz, Michigan, 2006). She is on the editorial boards of The Journal of Dramatic Theory and Criticism and Theatre Journal. From 1996-99 she was Director of Stanford’s Interdisciplinary Studies in Humanities and Department Chair from 2002-2005.