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Program
Description Admission
Information
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Nina Billone, B.S. Performance Studies, Gender Studies, Northwestern University: activism and performance, community-based performance, feminist and queer theory, race theory, critical prison studies, performance ethnography and literary adaptation. Carrie Gaiser Casey, B.A. Smith College, Religious Studies: twentieth century dance historiography; genealogies of dance practice; women, feminism, and ballet; theories of cultural transmission. Khai Thu Nguyen, > Khai Thu Nguyen, M.A Humanities, B.A. Early Modern Studies, Stanford University: Post-colonial performance and globalization, Asian and Asian American performance in a global context, modern drama, modernity, intercultural performance; politics of culture, affect, and melodrama; theories of performance, gender, and race; fieldwork methods. Joy Crosby, B.A. Comparative History of Ideas, University of Washington: early modern French and English theater, liturgical practices and the interplay between religion, ritual, politics and performance. Emine Fisek, B.A., Theater and English Literature, Swarthmore College: Twentieth century French and Francophone performance; theories of embodiment, subjectivity and postcoloniality; relationship between immigration, humanitarian aid and theater practice. Kelly Rafferty, B.A. English, Tulane University; feminist and new media performance, bioart, embodied interactivity and participation, reproductive and biotechnologies, feminist theory, science and technology studies, disability studies.
Michelle Baron: Brandeis University, B.A. English and Theatre; M.A. Performance Studies, UC Berkeley: queer theory, transnational queer and feminist studies, critical race theory, Latin@/Chican@ studies, performativity and affect, mourning and memorialization, pageant drama and the performance of nation/statehood. Nilgun Bayraktar: Sabanci University, Turkey, B.A. Cultural Studies: Experimental art in the post 1960s, transnational artistic production, migrant cinema and literature in Europe, Turkish-German cultural and artistic production, pre- and post-coup(s) Turkish aesthetics and performance, feminist theory and performance. Catherine (Kate) Ming T'ien Duffly, B.A. History, Macalester; M.A. Performance Studies, NYU: current research interests include: race and gender theory; social protest performance; cultural geography and spatial scale; the politics and performance of food. Kate Kokontis: Yale University, B.A. Studio Art Centers Int'l, Post-Bacc: visuality and performativity; critical race studies and intersectionality; theories and practices of memory and history; relationality and intersubjectivity; ethnography and oral history; theories and practices of space and movement (transnationalism, diaspora, im/migration, pilgrimage, site-specificity), museum studies and cultural policy. Charlotte McIvor, Muhlenberg College, B.A. in Theatre and English: colonial and postcolonial Irish and Indian (with an emphasis on West Bengal) theatre and performance as understood in relation to the development of the modern theatre, comparative colonialisms, transnational flows, race politics and gendered contexts of production. Also, performance of the "New Europe," immigration, and the Celtic Tiger. Designated Emphasis in Women, Gender and Sexuality Studies.
Shane Boyle, Duke University, B.A. English; Contemporary American and European activist art and performance; 20th Century German Theater; New Media; Off-Off Broadway; terrorism. Ariel Osterweis Scott, Columbia University, BA. with Departmental Honors in Anthropology, Phi Beta Kappa, Magna Cum Laude. Professional dancer and choreographer. Research interests include race, gender, virtuosity, and temporality in contemporary dance. Additional topics of inquiry include contemporary African choreography and training, transnational collaboration, disability studies, theories of corporeality, and experimental ethnography. Designated Emphasis in Women, Gender, and Sexuality. Chia-Yi (Jessie) Seetoo, B.A. Foreign Languages and Literatures, National Taiwan University; M.A. Theatre, Northwestern University: Dancer and performer. Research interests include performances in transnational contexts, problems and prospects of translation, corporealities and "affect", "Eastern body" aesthetics in Taiwan, and modern Chinese cultural performance. Other interests in practice include contemporary dance, film and new media, choreography, and intermedia choreography.
Marc Boucai, B.A. Theatre and English, Swarthmore College; graduate studies with L'Ecole Internationale de Jacque le Coq: performer, movement specialist, director, and critic. His research is varied, including studies of "kinetic ritual," pilgrimage and performance, and performance historiographies in LGBT communities, recasting concepts of memory and heritage. April Sizemore-Barber, B.A. English, Oberlin College: comes with a range of experiences as a performer, director, producer, and critic in the field of theater and social change, with a focus on queer performance. Her primary research interest, however, is in South African theater, museums and visual art as they relate to changing national identities, traumas, and conceptions of justice. Scott Wallin, B.A., Dramatic Arts and Cultural Anthropology, UC Santa Barbara; M.S.W. Social Welfare, UC Berkeley; M.A. Performance Studies, New York University: Research interests: Performance of identity with regard to class, race, ethnicity, and mental illness; disability studies; theories and practice of directing and acting for the stage. Brandon Woolf, B.A. Philosophy and English, Columbia University: Off-Broadway Directing/Producing, Contemporary European Performance, Modern Drama, Brecht, Theatre for Social Change, Critical Theory, Aesthetic Theory, The Frankfurt School, Institutional Critique, and Cultural Politics/Policy.
Sima Belmar, B.A. Russian and History, Univ. of Wisconsin-Madison; M.A. Russian Literature, Stanford University; M.F.A. Dance, University of Wisconsin-Madison: Interests include: gender, gesture (specifically, Neapolitan and Jewish), nation, and local and transnational identities as they relate to the language of dance; alternative training techniques for contemporary dancers and their potential impact on dance criticism. Caitlin Marshall, B.A. Theater Arts, Brown University; graduate M.M. program in voice at Roosevelt University: Marshall is a trained vocalist, actor, playwright, and ethnomusicologist, whose current project explores contemporary traditions of Quranic memorization and recitation, both as a vocalist and as an ethnographer. She is interested in transnational Muslim identities, phenomenology, affect and memory, and critical race and gender theory. She has studied French and Arabic at the Sorbonne and at the Institut du Monde Arabe in Paris. Ashley Ferro-Murray, B.A. Critical Performance Theory in the College Scholar Program and Dance, Cornell University: A choreographer and dancer, Ashley's choreographic pursuits include explorations of motion capture programming, interactive performance technologies and digital animation software from a dance history perspective. Academic interests lie in the intersection of dance and new media, French critical theory, gender studies, visual studies and digital culture. Godfrey Plata, B.A. Theater and American Studies/Ethnic Studies, University of Richmond: Teach for America alum, director, writer, actor, and teacher, Plata’s research interests include theater and social change; race, sexuality, class, and disability studies; drama, musical theatre, and opera as documentary; issues of audience and accessibility; public culture, popular culture, and spectacle.
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