School of Humanities and Sciences
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Jennifer DeVere Brody
Professor of Theater and Performance Studies
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 feminist theory, queer studies and contemporary cultural studies. Currently, she with Prof. Nicholas Boggs on the 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. She held the Weinberg College of Board of Visitors Professorship at Northwestern University.
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
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.
Lecturer, Theater and Performance Studies
BioKatie Faulkner is a dancer, choreographer, teaching artist, and founder/Artistic Director of little seismic dance company. Since receiving her MFA in Dance Performance & Choreography from Mills College in 2002, she has performed the works of Bill T. Jones, Stephen Petronio, Victoria Marks, Susan Rethorst, Alex Ketley 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 around the country and is currently on faculty at the University of San Francisco, UC Berkeley, and Stanford. Since founding little seismic, Faulkner has received support in the form of numerous grants, commissions, residencies, and awards. She was an artist-in-residence at ODC Theater from 2009-2011 and has also been in residence at 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 several 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 SF Bay Guardian GOLDIE Award for dance. In 2015, she received her certification in Laban/Bartenieff Movement Analysis from the Integrated Movement Studies program. www.littleseismicdance.org
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
Lecturer, Theater and Performance Studies
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.
Senior Lecturer in Drama
BioPatricia Ryan Madson is the author of IMPROV WISDOM: DON’T PREPARE, JUST
SHOW UP (Random House, 2005) and a professor Emerita from Stanford University where
she taught from 1977-2005. In the Drama Department she served as the head of the
undergraduate acting program and developed the improvisation program. In 1998 she was
the winner of the Lloyd W. Dinkelspiel Award for Outstanding Innovation in
Undergraduate Education at Stanford. She founded and coached the Stanford Improvisors
and taught beginning and advanced level courses in Improvisation for undergraduate as
well as adults in Stanford's Continuing Studies Program. In 1996 she founded the
Creativity Initiative at Stanford, an interdisciplinary alliance of faculty who share the
belief that creativity can be taught. Patricia has taught Design Improv for the School of
Engineering, and was a guest lecturer for the Stanford Technology Ventures Program and
for the Mayfield Fellows program.
She teaches regularly for the Esalen Institute, and has given workshops for the California
Institute for Integral Studies, the Institute of Transpersonal Psychology, the National
Association of Drama Therapists, the Western Psychological Association, Duke
University East Asian Studies Center, Wellness in the Workplace for BC University and
the Meaningful Life Therapy Association in Japan.
Her corporate clients have included: IDEO, Google, Gap Inc.'s Executive Leadership
Team, The Lucille and David Packard Foundation, the Banff Centre for Leadership, the
National Collegiate Inventors & Innovators Alliance (NCIIA), Hewlett Packard, Digital
Impact, The Woods Institute for the Environment, the International Society for
Performance Improvement (ISPI), the Santa Fe Leadership Center, the Association for
YMCA rofessionals, Sun Microsystems Japan Division, Extempo Systems,
Apple Computers, Adobe Systems, the Piedmont School District, and Price Waterhouse.
Batchelor of Arts in Philosophy, Westhampton College of the U. of Richmond,
1963Masters of Arts in Theater, Wayne State University, 1965
Linked In: Patricia Ryan Madson
FACEBOOK: patricia.ryan.madson TWITTER: patryanmadson
firstname.lastname@example.org or email@example.com
Associate Professor of Theater and Performance Studies
BioJisha 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. 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. 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.
Associate Professor (Teaching) of Theater and Performance Studies
Current Research and Scholarly InterestsOngoing interest in proximity in performance (see Hill L. and Paris H. (2014) Performing Proximity. London: Palgrave Macmillan.)
The work with Proximity considers anthropological concepts of proxemics within the context of performance studies. Specifically, it investigates distance in physical space between performers and audiences and how that distance or proximity impacts our encounters with one another. The book exemplifies my ongoing commitment to praxis, drawing on knowledge derived through the practice of performance and highlighting artistic works informed by critical inquiry. Two of the case studies examine collaborations with biological sciences exploring proximity in relation to the sense of smell and its connection with memory and in relation to the autonomic nervous system or the ‘second brain’. This work explores the importance of direct human contact and engagement in a digital age through its deep consideration of proximity and the senses, in relation to theatre and theatre pedagogy, underlining our commitment to live work. The book is written from the point of view of performers which, along with its reframing of proxemics, makes it a unique contribution to performance studies scholarship.
Ann O'Day Maples Professor in 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.
Professor (Teaching) of Theater and Performance Studies, Emeritus
Current Research and Scholarly InterestsEducation for Theatrical Lighting Design, nationally and internationally. Lighting design for Musicals.
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.
Professor of Theater and Performance Studies and of Classics
Current Research and Scholarly InterestsStanford Repertory Theater (SRT) is set to launch its 17th summer festival, this summer (2015) dedicated to the work of Noel Coward. Our mainstage production is *Hay Fever* and secondstage production *A Coward Cabaret*. The festival includes an all-day community symposium, continuing studies course *Theater on Theater*, and film festival on Coward. Our 2016 SRT Festival will focus on "Theater and Labor" with productions of Naomi Wallace's *Slaughter City* and Clifford Odets' *Waiting for Lefty."
I continue working on a long-term project entitled "Bilingual Beckett," which has included Stanford Repertory Theater's bilingual production of Samuel Beckett's *Happy Days/Oh les beaux jours," performed at Stanford, San Francisco, Montpellier, and Paris.
Professor Eleni Papalexiou at the University of the Peloponnese and I are collaborating to develop a summer institute in the Argolid, "Ancient Tragedies/Modern Stages," exploring contemporary approaches to staging Greek tragedy.
In winter 2016, SRT will remount "Words and Images to End All War," a theater piece I developed this year on World War I, supported by Stanford Arts Institute, Stanford Continuing Studies, TAPS, and Art and Art History.
SRT's "Comparative Clytemnestra" (performance/lecture focusing on the various treatments of Clytemnestra in Greek tragedy, with actress Courtney Walsh) will travel to New Zealand and Australia in the fall of 2015. This work will find its way into the revision of my 1992 *Greek Tragic Theatre,* which will come out in a new version entitled *Understanding Greek Tragedy* in 2016
Professor (Teaching) of Theater and Performance Studies
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 four 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) and Moving Lessons: The Beginning of Dance in American Education, (University of Wisconsin 2001). 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 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), for 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), "Improvisation as Child's Play," in 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 and the 2016 CORD Award for Outstanding Contributions to Dance Research. 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.
Professor of German Studies and of Theater and Performance Studies
BioMatthew Wilson Smith's interests include modern theatre; modernism and media; and relations between technology, science, and the arts. His book The Nervous Stage: 19th-century Neuroscience and the Birth of Modern Theatre (Oxford, 2017) explores historical intersections between the performing arts and the neurological sciences and traces the construction of a “neural subject” over the course of the nineteenth century. His previous book, The Total Work of Art: From Bayreuth to Cyberspace (Routledge, 2007), presents a history and theory of modern artistic synthesis, placing such diverse figures as Wagner, Moholy-Nagy, Brecht, Riefenstahl, Disney, Warhol, and contemporary cyber-artists within a genealogy of totalizing 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, published by Johns Hopkins University Press in 2016. He previously held professorships at Cornell University and Boston University as well as visiting positions at Columbia University and Johannes Gutenberg-Universität (Mainz).
Senior Lecturer in Theater and Performance Studies
BioConnie Strayer’s costume designs have been seen on local stages of Opera San Jose, West Bay Opera, TheatreWorks (where she was nominated for a Bay Area Theatre Critic’s Circle Award) as well as the Stanford Summer Theater, where she has recently designed Amy Freed’s Restoration Comedy and Harold Pinter’s The Lover, among others. Related areas include working as a make-up artist for the San Francisco Opera, San Francisco Ballet, fashion, and film. For the past twenty years, she has been studying the art of dyeing, and has utilized her skills for the pre-Broadway production of Martin Guerre for The Guthrie Theatre; Firebird, Carnival of Animals, and Fifth Element for the San Francisco Ballet; Medea for Smuin Ballet; and other works for Alonzo King’s Lines Ballet, San Diego Opera, Ballet San Jose, and The Singapore Dance Company. She also designs and produces hand-painted yardage for the fashion arena. She is a member of the Theatrical Designer’s Union, USAA Local #829.