School of Humanities and Sciences


Showing 1-31 of 31 Results

  • Samer Al-Saber

    Samer Al-Saber

    Assistant Professor of Theater and Performance Studies

    BioSamer is Assistant Professor of Theatre And Performance Studies, and a member of the faculty at the Center for the Comparative Study of Race and Ethnicity (CCSRE) and the Abbasi Program in Islamic Studies. Before coming to Stanford, he has taught at various institutions (Davidson College, Florida State University) on a wide range of topics, including Conflict and Theatre, Arab Theatre and Culture, Palestinian Theatre, Performing Arabs, Staging Islam and American Politics, and Orientalism. At Stanford, he teaches courses concerned with identity, race, and ethnicity at the intersection of Islam and the Arts His international research is focused on the cultural dimensions of the Arab World, the Middle East, and Islamicate regions. As artist/scholar, his field work intersects with theatre practice as a director and writer.

  • Nina Ball

    Nina Ball

    Lecturer

    BioNina Ball (she/ her) is an award winning scenic designer whose professional work has been seen at American Conservatory Theater, Oregon Shakespeare Festival, California Shakespeare Theater, Shotgun Players, San Francisco Playhouse, Marin Theatre Company, Aurora Theatre Company, Center Repertory Theatre, UC Berkeley TDPS, TheatreFIRST, The Cutting Ball Theater, San Jose Repertory Theatre, San Francisco Mime Troupe, and Z Space, among many others. She has been a company member at Shotgun Players in Berkeley since 2009 as well as TheatreFIRST (also in Berkeley) since 2018.

    Recent awards include a Theatre Bay Area award for "The Nether" at San Francisco Playhouse; San Francisco Bay Area Critic Circle awards for her designs of "My Fair Lady" at San Francisco Playhouse and "Metamorphosis" at the Aurora; a Shellie award for "Mirandolina" at Center REP; a Broadway World San Francisco Award for "Care of Trees" at Shotgun Players and an Arty Award for her design of "Eurydice" at Solano College Theatre. In addition to theatre, Ms. Ball is also a production designer and has worked on numerous film, TV and commercial productions locally and in LA.

    Ms. Ball holds a bachelor degree in biology with an emphasis in marine ecology from UC Santa Cruz and studied visual art and photography at the Fashion Institute of Technology (FIT) in New York City. She received her masters degree in scenic design with a costume design secondary from San Francisco State University.

    She is also a lecturer at UC Berkeley where she teaches Design for Performance in the Theatre Dance and Performance Studies department.

    Ms. Ball is a member of United Scenic Artists, Local 829.

    ninaball.com

  • Jennifer DeVere Brody

    Jennifer DeVere Brody

    Professor of Theater and Performance Studies
    On Leave from 09/01/2021 To 03/31/2022

    BioJennifer DeVere Brody graduated with a B.A. in Victorian Studies from Vassar College and did her graduate work in English and American Literature at the University of Pennsylvania which awarded her the Thurgood Marshall Prize for Academics and Community Service. Her scholary essays have appeared in Theatre Journal, Signs, Genders, Callaloo, Screen, Text and Performance Quarterly and in numerous edited volumes. Her books, Impossible Purities: Blackness, Femininity and Victorian Culture (Duke University Press, 1998) and Punctuation: Art, Politics and Play (Duke University Press, 2008) both discuss relations among and between sexuality, gender, racailization, visual studies and performance. She has served as the President of the Women and Theatre Program, on the board of Women and Performance and has worked with the Ford and Mellon Foundations. She received that Monette-Horwitz Prize for Independent Research Against Homophobia. She co-produced “The Theme is Blackness” festival of black plays in Durham, NC when she taught in African American Studies at Duke University. Her research and teaching focus on performance, aesthetics, politics and subjectivity as well as black feminist theory, black queer studies and contemporary cultural studies. She co-edited a re-publication of James Baldwin’s illustrated book, Little Man, Little Man and is writing a new book about the intersections of sculpture and performance in the work of Edmonia Lewis. She held the Weinberg College of Board of Visitors Professorship at Northwestern University and was a member of Duke University's African & African American Studies Dept. for three years. She co-edits GLQ with Riley Snorton.

  • Kara Davis

    Kara Davis

    Lecturer

    BioKara Davis, Co-Artistic Director of project agora, danced for Atlanta Ballet, Ohio Ballet, SF Opera Ballet, and Ballet Jörgen in Toronto, Ontario. She is a founding member of KUNST-STOFF and Janice Garrett & Dancers both of whom she danced for ten years. She has performed choreography by Margaret Jenkins, Alex Ketley, Amy Raymond, Pearl Ubungen, Val Caniparoli (ACT), Holly Johnston, and Robert Moses. She has received multiple Isadora Duncan awards and nominations. Her choreography has been presented at the Bates Dance Festival, Edinburgh Fringe Festival ACDA Nationals at the Kennedy Center, ODC Theater, YBCA, SF MOMA and Headlands Center For The Arts,. She has taught and choreographed at LINES Dominican University and Training Program since 2005. She earned her MFA from Hollins University in 2013.

  • Harry Elam

    Harry Elam

    Senior Vice Provost for Education, Vice President for the Arts, Freeman-Thornton Vice Provost for Undergraduate Education and the Olive H. Palmer Professor in Humanities, Emeritus

    BioVice 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.

  • Amy Freed

    Amy Freed

    Artist-in-Residence in the Department of Theater and Performance Studies

    BioAmy Freed is the author of Restoration Comedy, The Beard of Avon, Freedomland, Safe in Hell, The Psychic Life of Savages, You, Nero and other plays. She 's a past recipient of the Charles McArthur Playwriting Award (D.C.) The New York Art's Club Joseph Kesserling Award, a several-times winner of the LA Critic's Circle Award, and a Pulitzer Prize Finalist. Her work has been produced 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.

    Her most recent play is The Monster Builder, and she is developing commissions for Berkeley Rep, South Coast Rep and Arena Stage. She is currently Artist-in-Residence at Stanford University and also holds a Mellon Foundation Playwriting Residency for the Arena Stage in Washington, D.C.

  • Stephanie Jane Hunt

    Stephanie Jane Hunt

    Lecturer

    BioStephanie 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. She played Lizzie Borden in The Fall River Axe Murders by Angela Carter directed by Amy Freed. 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.

  • Branislav Jakovljević

    Branislav Jakovljević

    Sara Hart Kimball Professor of the Humanities

    BioMy research is highly interdisciplinary. I find it very rewarding to study performance in the context of visual arts, film and digital media, literature and poetry, critical theory, as well as larger social and historical processes. Most recently, I have been focusing on climate change and environmental justice, which led me to an interest in cultural policies and funding for the arts in the US.

    My most recent monograph in English is Alienation Effects: Performance and Self-Management in Yugoslavia 1945-1991 (University of Michigan Press, 2016) which received the Joe A. Callaway Prize for the Best Book on Drama or Theater for 2016-17 and Association for Theatre in Higher Education (ATHE) Outstanding Book Award, 2017. It has been translated into Serbian (2019) and Slovenian (2021). I co-translated and edited Radomir Konstantinović’s book The Philosophy of Parochialism, a groundbreaking analysis of the relation of the national literature, primarily poetry, and the formation of totalitarian ideas and political practices in a small European nation during the first half of the 20th century (forthcoming from University Michigan Press in the fall of 2021). Together with my colleague Diana Looser, I edited a special issue of TDR: The Drama Review on climate change, which is also forthcoming in the winter of 2021. Currently, I am completing the book manuscript Performance Apparatus, in which I investigate the relationship between performance art and theories of ideological and power formations from the 1970s until the present.

    I hail from Yugoslavia, the country that was located in central and western Balkans, in southeastern Europe. There, I trained in Drama Schools at universities in Skopje and Belgrade (present-day Northern Macedonia and Serbia, respectively). I worked as Dramaturg in professional theaters during and immediately after the completion of my BFA studies.

    Most of my views on politics, ethics, justice, and the arts were informed by the unraveling of Yugoslavia in a series of bloody civil wars in the 1990s. I was active in anti-war movements before I left the country, and remained active in pro-democracy publications in Serbia and the region of the former Yugoslavia. Some of these writings have been collected in the book Frozen donkey and other essays (Smrznuti magarac i drugi eseji, Komuna Links, Belgrade 2017).

    Both my MA and PhD are from the Department of Performance Studies at New York University. While pursuing my PhD, I was active in the New York downtown theater and alternative press scene in the late 1990s and early 2000s. In the subsequent years, I served on the board of Performance Studies international (PSi), and chaired the 19th PSi conference held at Stanford in June of 2013.

    Before joining Stanford in 2006, I taught at NYU’s Tisch School of the Arts and University of Minnesota. In addition to teaching undergraduate and graduate classes in my home department, over the years I served as Director of Undergraduate Studies, Director of Graduate Studies, and Chair (2015-2019). Some of the highlights from my tenure as Chair are: devising a strategic plan for the department that yielded the current structure of our undergraduate program, supervising the return of the department to the renovated Roble Gym, the establishment of Nitery Experimental Theater as the first fully student-run theater space on campus, working with the Dean’s office to set up Carl Weber graduate fellowships, and opening TAPS season-planning process to include all members of the department who are willing to participate (students, faculty, staff). As of the fall of 2021, I again assumed the role of Director of Undergraduate Studies. It is my hope that in this capacity I will be able to help TAPS re-open after the COVID closure.

  • Jisha Menon

    Jisha Menon

    Associate Professor of Theater and Performance Studies and, by courtesy, of Comparative Literature

    BioJisha Menon is a scholar of postcolonial theory and performance studies whose research interests lie at the intersection of law and performance; race and the carceral state; affect theory, cities, and capitalism; gender and sexuality; cosmopolitanism and nationalism. She is the author of the forthcoming book, Brutal Beauty: Aesthetics and Aspiration in Urban India (Northwestern UP, 2021,) which considers the city and the self as aesthetic projects that are renovated in the wake of neoliberal economic reforms in India. The study explores how discourses of beauty are mobilized toward anti-democratic ends. Sketching out scenes of urban aspiration and its dark underbelly, the book delineates the creative and destructive potential of India’s lurch into contemporary capitalism. Her first book, The Performance of Nationalism: India, Pakistan and the Memory of Partition (Cambridge UP, 2013), examines 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 co-editor of two volumes: Violence Performed: Local Roots and Global Routes of Conflict (with Patrick Anderson) (Palgrave-Macmillan Press, 2009) and Performing the Secular: Religion, Representation, and Politics (with Milija Gluhovic) (Palgrave Macmillan, 2017.) She has published essays on the Indian partition, diasporic feminist theatre, political violence and performance, transnational queer theory, and neoliberal urbanism. Previously, she served as Assistant Professor of English at the University of British Columbia in Vancouver, Canada.

  • Peggy Phelan

    Peggy Phelan

    Ann O'Day Maples Professor of the Arts and Professor of English

    BioPeggy Phelan is the Ann O’Day Maples Chair in the Arts Professor of Theater & Performance Studies and English. Publishing widely in both book and essay form, Phelan is the author of 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, (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. Phelan is 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 Meurron: Natural History (CAA, 2005).

    She has written more than sixty articles and essays in scholarly, artistic, and commercial magazines ranging from Artforum to Signs. She has written about Samuel Beckett for the PMLA and for The National Gallery of Ireland. She has also written about Robert Frost, Michael and Paris Jackson, Olran, Marina Abramovic, Dziga Vertov and a wide range of artists working in photography, dance, architecture, film, video, music, and poetry. She has edited special issues of the journals Narrative and Women and Performance. She has been a fellow of the Humanities Institute, University of California, Irvine; and a fellow of the Humanities Institute, The Australian National University, Canberra, Australia. She served on the Editorial Board of Art Journal, one of three quarterly publications of the College Art Association, and as Chair of the board. She has been President and Treasurer of Performance Studies International, the primary professional organization in her field. She has been a fellow of the Getty Research Institute and the Stanford Humanities Center. She won a Guggenheim Fellowship in 2004. She chaired the Department of Performance Studies at New York University and the Drama Department at Stanford University.

  • Michael Ramsaur

    Michael Ramsaur

    Professor (Teaching) of Theater and Performance Studies, Emeritus

    Current Research and Scholarly InterestsEducation for Theatrical Lighting Design, nationally and internationally. Lighting design for Musicals.

  • Michael Rau

    Michael Rau

    Assistant Professor of Theater and Performance Studies

    Current Research and Scholarly InterestsI am a live performance creator and director. I direct theater, musicals, opera, and I create digital media projects. I am always looking for new projects and interdisciplinary collaborations. I am interested in ways that technology can be used to tell stories, in virtual reality and games, and in live performance situations. I have created immersive theater pieces, and I enjoy working with new playwrights and writers to develop and shape their work.

  • Rush Rehm

    Rush Rehm

    Professor of Theater and Performance Studies and of Classics
    On Leave from 09/01/2021 To 08/31/2022

    Current Research and Scholarly InterestsStanford Repertory Theater (SRT) will present *Voices of the Earth: From Sophocles to Rachel Carson and Beyond* at the Sebastopol Arts Center on November 7, 2021. The audio/visual version and/or the script is available for use by schools, arts councils, and environmental groups, free of charge, Contact stanfordrep@stanford.edu, or go to our website stanfordreptheater.com. Join the fight to save human and animal life on our planet!

  • Aileen Robinson

    Aileen Robinson

    Assistant Professor of Theater and Performance Studies

    Current Research and Scholarly InterestsAileen K. Robinson is a historian of performance and technology with specializations in 18th and 19th century British theatre and Black cultural performances. Working across the history of science, technology, and theatre, Robinson explores how systems of knowledge, connected to the body and the object, overlapped to produce practices of research, dissemination, and valuation.

    Robinson's current book manuscript explores intersections between technological, scientific, and theatrical knowledge in early nineteenth-century science museums. She investigates how theatrical performances and magic shows drew upon technological innovations and formed unique methods for disseminating scientific knowledge. She teaches across the history of science and performance, magic and technology, eighteenth- and nineteenth-century stagecraft, and 19th and 20th-century Black artistic production.

  • Janice Ross

    Janice Ross

    Professor (Teaching) of Theater and Performance Studies, Emerita

    BioJanice Ross, Professor in the Department of Theatre and Performance Studies and former faculty director of ITALIC, Stanford's residence based Freshman arts immersion program, has a BA with Honors from UC Berkeley and MA and Ph.D degrees from Stanford. Her research interests and books focus on the intersections of social issues and their expression through performance. They include, Like A Bomb Going Off: Leonid Yakobson and Ballet as Resistance in Soviet Russia (Yale Univ. 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), Moving Lessons: The Beginning of Dance in American Education, (University of Wisconsin Press 2001/ University of Florida Press, Second Edition/2020) and, co-edited with Susan Manning and Rebecca Schneider, The Futures of Dance Studies, (University of Michigan Press (2020). Her research interests concern performance and social justice with a particular focus on tensions between political and aesthetic expression. Her essays on dance have been published in several anthologies including The Oxford Handbook of Contemporary Ballet (Oxford Univ. Press, 2020), The Aging Body in Dance: A Cross Cultural Perspective, (Routledge, 2017),The Oxford Handbook of Improvisation (2019) Soloists and The Modern Dance Canon (Univ. Press of Florida, 2012), Dignity in Motion: Dance, Human Rights and Social Justice, edited by Naomi Jackson (Scarecrow Press 2008), Perspectives on Israeli and Jewish Dance, ed. Judith Brin Ingber, (Wayne State University Press, 2008), 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 a Guggenheim Fellowship, two Stanford Humanities Center Fellowships, a Fulbright Fellowship to Israel, 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, the 2016 CORD Award for Outstanding Contributions to Dance Research , an NYU Fellowship for the Center for Ballet and the Arts (2018) and a Bogliasco Foundation Fellowship (Italy 2022). 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.

  • Matthew Smith

    Matthew Smith

    Professor of German Studies and of Theater and Performance Studies

    BioMatthew 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).