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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, 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.
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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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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.
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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.
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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.