School of Humanities and Sciences
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Stephanie Jane Hunt
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) and with Milija Gluhovic, of Performing the Secular: Religion, Representation, and Politics (Palgrave Macmillan, 2017.)
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.