I am committed to cross-disciplinary work, believing that disciplines such as history, literature, and theater are not discrete units, but fields that inform one another and work together to both produce and reproduce culture, a passion I believe helps me design courses and learning opportunities that realize the University’s mission “to prepare our students to lead purposeful and fulfilling lives in a global society by providing the highest-quality education through experiential, collaborative and discovery-based learning.” This philosophy informs both my approach to teaching, in courses such as Dramaturgy, and my scholarship, in essays such as "Metatheatrical Labor in Rude Mechanicals’ The Method Gun," which I presented at the American Society for theater Research's annual conference in 2011. I am particularly invested in helping students engage in the learning process and hope that they can develop personal strategies that allow them to recognize the value of writing as a way to make critical thinking an active, physical process and enable them to develop the skills and the confidence to enthusiastically, publicly articulate their points of view.
Ph.D. The University of Texas at Austin
M.F.A. The University of Georgia
B.A., Suffolk University, Boston, MA
“Value, Voice, and Identity in Three Birds Alighting on a Field.” International Dramaturgy: Translation and Transformation in the Theater of Timberlake Wertenbaker. Eds. Sara Freeman and Maya Roth. Peter Lang, 2008. 195-208.
“Utopia in absentia: Staging Possibilities in Kirk Lynn’s WAR.” Drama and the Postmodern: Assessing the Limits of Metatheatre. Ed. Daniel K. Jernigan. Cambria, 2008. 327-349.
“Performing Arts: Performers.” Encyclopedia of Women in World History. Eds. Bonnie G. Smith, et al. Oxford UP, 2008. 437-441.
“Metatheatrical Labor in Rude Mechanicals’ The Method Gun,” “Spectacles of Labor” working group, American Society for Theater Research (ASTR), Montreal, Canada, November 2011
“She Was Always Sad: Remembering Mother in Caryl Churchill's Not Enough Oxygen and A Number,” Symposium: Performing Motherhood in Modern and Contemporary Drama, Mount Allison University, Sackville, New Brunswick, Canada, October 2008.
“Negotiating Definitions of Dance and ‘American’ Identity in Myra Kinch’s Work for the Federal Theater Project,” ATHE, Denver, August 2008 (session co-coordinator, “Policy, Process, and Product: Dialogues Between Artists and Policy-Makers for Federally Funded Projects”)
“Got to Get Over the Hump: The Politics of Glam in the Work of Labelle and Parliament,” Emergent Scholars in Music as Performance Panel, Association for Theater in Higher Education (ATHE), Chicago, August 2006
“‘I Want You to Bring it up in the Conversation’: Value, Voice, and Identity in Three Birds Alighting on a Field,” International Dramaturgy: Translations and Transformations, A Symposium on the Theater of Timberlake Wertenbaker, Georgetown University, March 2006
“More than a Slideshow: PowerPoint, Performative Scholarship & Active Spectatorship,” ATHE, San Francisco, July 2005