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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, Theater) and in Europe (Serbia, United Kingdom, Spain, Sweden, Croatia, Poland, and Belgium). In 2013 he chaired 19th annual Performance Studies international conference "Now Then: Performance and Temporality" at Stanford University.
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firstname.lastname@example.org | (650) 725-3494 | Roble Hall Room 142
Her performance work with Curious, produced by Artsadmin in London, has been shown in 18 countries, commissioned and produced by organizations such as Artist Links Shanghai, Franklin Furnace, PS122, the RSC, the Wellcome Trust, Arts Council England, Carriageworks Sydney, Sydney Opera House, Tanzquartier Vienna, Alfred ve dvoře Prague, the Old Power Station, Ljubljana, Le Couvent des Recollets Paris, Centre Pompidou and the National Review of Live Art, Glasgow. Her new book Sex, Suffrage and the Stage: Early Feminism in British Theatre is forthcoming from Palgrave Macmillan in 2016. She is co-author of Performing Proximity (Palgrave Macmillan, 2014) and co-editor of Performance and Place (Palgrave Macmillan, 2006). Her articles have appeared in journals such as Performance Research, Contemporary Theatre Review and New Theatre Quarterly. Originally from New Mexico, Hill lived in the UK for 20 years where she co-founded Curious theatre company with Helen Paris in 1996. Hill received a double major in English and Philosophy from the University of New Mexico in 1989, an MA from the Shakespeare Institute in 1991, and a Ph.D in Theatre from the University of Glasgow in 1996.
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firstname.lastname@example.org | (650) 723-2682 | Roble Gym Room 143
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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)
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After Brecht’s death in 1956, Weber became one of the directors with the company. He co-wrote and directed, with Peter Palitzsch, the play The Day of the Great Scholar Wu, staged a revival of Brecht’s production of Mother Courage, and was one of the directors of Brecht’s Fear and Misery of the Third Reich. He also wrote and edited program brochures and acted in eight of the Ensemble’s productions. 1955-61, Weber directed as well for other theaters, such as Berlin’s Deutsches Theater, and for television (Deutscher Fernsehfunk).
In 1961, Weber staged the West German premiere of Brecht’s Trumpets and Drums at the Lübeck City Theater, and was invited to direct Brecht’s Puntila and his Man Matti at Carnegie Institute of Technology, at Pittsburgh, in 1962. Between 1962 and 1966, he directed at theaters in West Germany, Scandinavia, and the United States, among them the San Francisco’s Actors Workshop, Memphis’ Front St. Theatre, Norway’s National Theatre in Oslo, Denmark’s Aarhus and Aalborg Theatres, and Berlin’s Schaubühne. He also served 1964-66 as principal resident director of Wuppertaler Bühnen, the home of Pina Bausch’s “Tanztheater.”
Weber moved to New York in 1966 when he was appointed Master-Teacher of Directing and Acting at the newly-founded NYU School of the Arts. Subsequently he directed numerous productions in New York and at American regional theatres, such as Lincoln Center Repertory Theatre; Chelsea Theatre Center at B.A.M.; American Place Theatre; Perry St. Theatre; the Martinique; Arena Stage, Washington, D.C.; Yale Repertory Theatre; McCarter Theatre, Princeton; and San Francisco’s Magic Theatre. Among his productions, besides Brecht plays, were the American premieres of Peter Handke’s Kaspar (the production received two Obies), The Ride Across Lake Constance, and They are Dying Out; of Witkiewicz’s The Waterhen; and the premieres of Ed Bullins’ Jo Anne; W. D. Snodgrass’s Fuehrer Bunker; Mac Wellman’s Starluster and Saul Levitt’s Lincoln. He also directed many classics, among them Molière’s The Miser, Rostand’s Cyrano, H.V. Kleist’s The Broken Pitcher; and Shakespeare’s Julius Caesar. While based in New York, he continued to direct in Europe: for Zürich Schauspielhaus; München Kammerspiele; Hamburg Schauspielhaus, and Wuppertaler Bühnen. He also staged one of the first Indian Brecht productions, Caucasian Chalk Circle, 1968, at the Asian Theatre Institute, New Delhi. From 1971 to 1983, he chaired the Graduate Directing Department at NYU’s Tisch School of the Arts. In 1984, he was appointed Professor of Drama (now Theater & Performance Studies) at Stanford University where he heads Ph.D. Directing Studies. He has directed and/or taught at Columbia University, the National Theatre School of Canada at Montreal, U.C.L.A., Princeton University, Temple University, and Justus von Liebing Universität at Giessen. He also lectured and/or conducted workshops at many other American and German universities.
Weber has authored and narrated programs on Brecht and Handke for Camera 3, CBS-TV. His writings have been published in The Drama Review, Modern Drama, Performing Arts Journal, Theatre Journal, Theater, Theatre Three, Contemporary Theatre Review, Theater Heute, Theater der Zeit, Die Weltbühne, and others. His essays have appeared in the volumes The Director in a Changing Theatre, Master Teachers of Theatre, Szenische Geschichtsdarstellung, Theatre and Film in Exile, Multiculturalism and Performance, Vom Wort zum Bild, The Cambridge Companion to Brecht, Brecht Unbound, A Bertolt Brecht Reference Companion, American Dramaturgy, An Introduction to Theatre, Brecht Handbuch, Heiner Müller Handbuch, and Encyclopedia of the 20th Century, among others. He is a co-editor of the Yearbook of the International Brecht Society and of Performing Arts Journal.
Weber translated, edited, and wrote introductions and commentary to four volumes of plays, poetry and prose by Heiner Müller: Hamletmachine, Explosion of a Memory, The Battle, and A Heiner Müller Reader, published by PAJ Publications and Johns Hopkins University Press. He also edited the anthology Dramacontemporary: Germany, Johns Hopkins University Press, for which he wrote introductions and translated several of the plays. His translations of Müller, Manfred Karge, and Gerlind Reinshagen have been widely performed. His translations into German of plays from the English, French, and Russian repertoire were produced at German theaters and radio.
Weber is a member of the Society of Stage Directors and Choreographers, and was on its Board, 1980-1986. He is also a member of PEN Club, ATHE, and the International Brecht Society.