FOR A MORE UP-TO-DATE C.V., CLICK <A HREF="https://web.sas.upenn.edu/cmazer/files/2017/12/Mazercv-1qnmcqq.pdf">HERE</A>


<title>Cary M. Mazer:  Curriculum Vita</title>
<center><h1>Cary M. Mazer</h1>
<h1><IMG SRC="me1.jpg" width="600"></h1>
<h1>Curriculum Vita</h1><p>

</center>
<ul>
<li><a href="#education>Education</a>
<li><a href="#employment">Employment</a>:
<ul>
<li><a href="#academic">Academic Employment</a>
<li><a href="#related">Related Employment</a>
</ul>
<li><a href="#administrative">Administrative Experience</a>
<li><a href="#responsibilities">Professional Responsibilities</a>
<li><a href="#memberships">Professional Memberships</a>
<li><a href="#awards">Awards and Honors</a>
<li><a href="#publications">Publications</a>
<ul>
<li><a href="#books">Books</a>
<li><a href="#plays">Plays</a>
<li><a href=?#editing?>Editing</a>
<li><a href="#articles">Articles</a>
<li><a href="#reviews">Reviews</a>
<li><a href="#misc">Miscellaneous</a>
<li><a href="#jour">Journalism</a>
</ul>
<li><a href="#papers">Papers</a>
<li><a href="#theatre">Theatre Work</a>
<ul>
<li><a href="#directing">Directing</a>
<li><a href="#dramaturgy">Dramaturgy</a>
</ul>
<li><a href="#courses">Courses Taught</a>
</ul>
<a name="education"><h2>Education:</h2>
<ul>
<li>AB, Princeton University, 1974:  English
<li>MA, Columbia University, 1976:  Theatre
<li>PhD, Columbia University, 1980:  Theatre
</ul>
<a name="employment">
<a name="academic">
<h2>Academic Employment:</h2>
<ul>
<li>Preceptor in Theatre, Columbia University, summer 1979.
<li>Lecturer in English, University of Pennsylvania, 1979-80.
<li>Assistant Professor of English, University of Pennsylvania, 1980-87.
<li>Associate Professor of English (with tenure), University of Pennsylvania,
1987-2002.
<li>Associate Professor of Theatre Arts and English, 2002-2016.
<li>Professor of Theatre Arts and English, University of Pennsylvania, 2016-present.  (see "courses taught" below)
</ul>
<a name="related">
<h2>Related Employment and Teaching:</h2>
<ul>
<li>Assistant to Theatre Librarian, Seymour Theatre Collection, Princeton
University, summer 1974.
<li>Production Assistant to Joseph Papp, <i>Henry V</i>, Delacorte
Theatre, 1976.
<li>Project Coordinator, Shakespeare Task Force for Post-Secondary Eduction,
WNET, 1977-78 (towards preparing an educational program to support the 
BBC/PBS
Shakespeare television series).
<li>Assistant Director, NEH Humanities Institute on Shakespeare in
Performance, Folger Institute, 1982 (see "publications: Books" below).
<li>Academic Consultant, Annenberg Center outreach programs for secondary
school teachers on Shakespeare in Performance, 1982, 1984.
<li>Guest Lecturer, Philadelphia Alliance for Teaching Humanities in the
Schools (PATHS) Colloquium, Rosenbach Collection, 1985.
<li>Theatrical Consultant/Coordinator/Lecturer, PATHS summer Institute on
Shakespeare and his World, LaSalle University, summer 1985.
<li>Consultant, PATHS Shakespeare Project, West Philadelphia High School,
1985-86.
<li>Consultant, "Activating Shakespeare" seminars for New Jersey teachers,
Farleigh Dickinson University, 1987.
<li>Consultant, "Voices of Dissent," Symposium on the Arts as a Force in
Social Change, Philadelphia, 1987.
<li>Resident Scholar, NEH Humanities Institute on Shakespeare for Secondary
School Teachers, Folger Institute/Stratford-upon-Avon, 1990.
<li>Faculty, Folger Institute on "Shakespeare Examined Through Performance,"
1995-96.
<li>Guest lecturer, NEH-funded "Theatre History Initiative," Shakespeare Theatre, Washington, DC, 2003, 2005.

</ul>
<a name="administrative">
<h2>Administrative Experience:</h2>
<ul>
<li>Member, Graduate Committee, English Department, University of
Pennsylvania, 1980-81.
<li>Co-Chair, Theatre Arts Program, University of Pennsylvania, 1980-87;
<li>Chair, 1987-2004.
<li>For the Theatre Arts Program:
<ul>
<li>Chair, Sub-Committee for Program Planning, 1979-80; Performance Sub-
Committee, 1983-84, 1987-89.
<li>Member, Undergraduate Communications Committee, University of
Pennsylvania, 1982-87.
<li>Chair, Junior Faculty Committee, English Department, University of
Pennsylvania, 1984-85.
</ul>
<li>Member, Faculty Senate Executive Committee and University Council,
University of Pennsylvania, 1987-89.
<li>Member, Governing Board, WXPN Radio, 1988-90.
<li>Member, Women's Studies Advisory Committee, 1990-present.
<li>Member, Graduate Committee, English Department, University of
Pennsylvania, 1992-93.
<li>Member, School of Arts and Sciences Admissions Committee, 1994-5.
<li>Member, School of Arts and Sciences Committee on Individualized Study,
1997-99.
<li>Member, School of Arts and Sciences Teaching Awards Committee, 2003-4.
<li>Member, School of Arts and Sciences Curiculum Committee, 2006-7.
<li>Member, Faculty Senate Committee on Publication Policy for the <i>Almanac</i>, 2008-2009.
<li>Secretary of the Faculty, School of Arts an Sciences, 2017-18.
</ul>

<a name="responsibilities">
<h2>Professional Responsibilities:</h2>
<ul>
<li>Executive Secretary, American Society for Theatre Research (ASTR), 1983-
92.
<li>Also for ASTR:
<ul>
<li>Member, Ad Hoc Committee for Budget and Development, 1981.
<li>Member, Treasurer Search Committee, 1984-85.
<li>Member, Ad Hoc Bernard Beckerman Memorial Committee.
<li>Member, Research Committee, 1986-89.
<li>Member, Special Committee for Finance.
<li>Member, Special By-laws Committee, 1992-93.
<li>Member, Secretary Search Committee, 1992.
<li>Member, Special Committee to redefine the position of Secretary, 1994.
<li>Acting Delegate to ACLS, 1994.
<li>Liaison with American Theatre Critics Association, 1995-97.
<li>Local Arrangements Chair, Philadelphia Meeting, 2002
<li>Chair, Awards Committe, 2003-5
<li>Member, Executive Committee, 2003-2005.
<li>ASTR delegate to the American Council of Learned Societies Conference of
Administrative Officers (formerly the Conference of Secretaries), 
1983-92.  
<ul>
For ACLS Conference of Administrative Officers:
<li>Nominating Committee, 1985, 1986, 1989.
<li>Executive Committee, 1988-90.
</ul>
</ul>
<li>Juror, competitive panel on Shakespearean Theatre in honor of Bernard
Beckerman, Theatre History Program of the University and College Theatre
Association, American Theatre Association, 1986.
<li>Juror, Shakespeare Association of America Annual Meeting, 1989.
<li>Member, Board of Directors, The Red Heel Theatre, 1991-1994.
<li>Judge, National Critics Institute, Kennedy Center/American College 
Theatre
Festival Region II, Pennsylvania State University, 1994.
<li>Academic Advisory Council, The Mint Theatre, New York City, 2007-present.
</ul>
<a name="memberships">
<h2>Professional Memberships:</h2>
<ul>
<li>American Society for Theatre Research
<li>Shakespeare Association of America
<li>Association for Theatre in Higher Education
<li>Modern Language Association
<li>The Society for Theatre Research (U.K.)
<li>International Federation for Theatre Research
<li>American Theatre Critics Association
<li>Literary Managers and Dramaturgs Association
</ul>
<a name="awards">
<h2>Awards and Honors:</h2>
<ul>
<li>Honors in English, Princeton University, 1974.
<li>Pearl Hickman Dramatic Arts Fellowship, Berkeley, 1974-75.
<li>American Society for Theatre Research Venice Scholarship, 1977.
<li>Distinction, Doctoral Dissertation, Columbia University, 1980.
<li>Summer Research Grant, University of Pennsylvania, 1981.
<li>ACLS Fellowship for Recent Recipients of the PhD, 1982-83.
<li>Summer Research Grant and Grant-in-Aid, University of Pennsylvania, 
1984. 
<li>ACLS Travel Grant, 1984.
<li>American Theatre Association Award for the Outstanding Article on Theatre
Published in English in 1984, for "Treasons, Stratagems, and Spoils,"  (see
"Publications: Articles" below)
<li>Summer Grant-in-Aid, University of Pennsylvania, 1988.
<li>International Programs Fund grant, University of Pennsylvania, 1989.
<li>Dean's Award for Mentoring Undergraduate Research, University of Pennsylvania, 2001.
<li>Award for Excellence in Playwriting, Association for Theatre in Higher Education, for <i>Shylock's Beard</i>, 2016.
</ul>

<a name="publications">
<a name="books">
<h2>Publications:</h2>
<h3> Books:</h3>
<ul>
<li><i>Shakespeare Refashioned: Elizabethan Plays on Edwardian Stages</i> (Ann
Arbor: UMI Research Press, 1981).


<li>Editor, volume 15 (William Poel, H. Granville Barker, Tyrone Guthrie, Sam Wanamaker) of <i>Great Shakespeareans</i>, general editors Peter Holland and Adrian Poole (London:  Bloomsbury., 2013)
<li><i>Double Shakespeares:  Emotional-Realist Actng and Contemporary Performance</i>, Fairleigh Dickinson University Press, 2015.  Reviewed in <i>Theatre Suvey</i> 57 (2016), 473-5; <i>Shakespeare Survey</i> 59 (2016), 462-3.

</ul>

<a name="plays">
<h3>Plays:</h3>
<ul>
<li><i>Pinchas Vontz</i>:  an original adaptation of <i>Peer Gynt</i> by Henrik Ibsen.  Script-in-hand readings:  University of Pennsylvania, 2013, People's Light & Theatre Company, 2013. 
<li><i>Shylock's Beard</i>:  winner of the Award fo Excellence in Playwriting, Association for Theatre in Higher Education (ATHE), 2016.  Script-in-hand reading:  ATHE Conference, Chicago, 2016.
<li><i>Seven Lectures on Hamlet</i>.
<li><i>A Puppeteer with the Palsy Performs Scenes from Shakespeare, or, The Ghost in the Machine</i>. 
<li><i>Swing Set</i>
<li><i>Benefit Performance, or, The Other Jew</i>
<li><i>Got Your Back</i>
</ul>

<a name="editing">
<h3>Editing</h3>
<ul>
<li>Guest editor, Performance in Review Section, special issue of <i>Shakespeare Bulletin</i> (31:4, Winter 2013) on "Early Modern Drama and Realist Performance on the Contemporary Stage."
</ul>


<a name="articles">
<h3>Articles</h3>
<ul>
<li>"Bill Walker's Sovereign: A Note on Sources" <i>Shaw: The Annual of
Bernard Shaw Studies</i> 3 (1983), 117-119.
<li>"Treasons, Stratagems, and Spoils: Edwardian Actor-Managers and the
Shakespeare Memorial National Theatre," <i>Theatre Survey</i> 24 (1983), 
1-33.
 Recipient of the American Theatre Association Award for the Outstanding
Article on Theatre Published in English in 1984.
<li>"Actors or Gramophones: The Paradoxes of Granville Barker," <i>Theatre
Journal</i> 36 (1984), 5-23.
<li>"Ibsen and the Well-Made Play," in <i>Approaches to Teaching Ibsen's A
Doll House</i>, ed. Yvonne Shafer (New York: Modern Language Association,
1985), pp. 69-75.  (see also pp. 17-18).
<li>"Shakespeare, the Reviewer, and the Theatre Historian," <i>Shakespeare
Quarterly</i> 36 (1985), 648-661.
<li>"Shakespeare and the Theatre of Illustration,"  in <i>A Brush with
Shakespeare: The Bard in Painting, 1780-1910</i>, ed. Ross Anderson
(Montgomery: Montgomery Museum of Fine Arts, 1985), pp. 23-34 (Catalogue for
an exhibition of paintings on Shakespearean subjects, Montgomery Museum of
Fine Arts, New York Public Library at Lincoln Center, Chicago Public 
Library).
<li>"The Criminal as Actor: H.B. Irving as Criminologist and Shakespearean,"
in <i>Shakespeare and the Victorian Stage</i>, ed. Richard Foulkes,
(Cambridge: Cambridge University Press, 1986), pp. 106-119.
<li>"Finders Keepers: Recent Scholarship on Granville Barker," a review 
essay,
<i>Nineteenth Century Theatre</i> 15 (1987) 34-49.
<li>"The (Historical) Actor and the Text," <i>Shakespeare Bulletin</i>, 10,
no. 1 (Winter 1992), 18-20.
<li>"<i>The Voysey Inheritance</i>," <i>Harley Granville Barker:  An 
Edinburgh
Retrospective</i>, ed. Jan MacDonald and Leslie Hill (Glasgow:  Theatre
Studies Publications, 1993), pp. 50-68.
<li>"On Heroes and Dramatic Hero-Worship," a review essay on Anthony Jenkins,
<i>The Making of Victorian Drama</i>, <i>Review</i> 15 (1993), 85-92.
<li>"Loose Canons:  Recent Scholarship on Victorian Drama," a review essay,
<i>Nineteenth Century Theatre</i> 22 (1994), 56-72.
<li>"Historicizing Alan Dessen:  Scholarship, Stagecraft and the `Shakespeare
Revolution,'" in <i>Shakespeare, Theory, and
 Performance</i>, ed. James C. Bulman, (London:  Routledge, 1996), pp. 
149-167.
<li>"Rebottling:  Dramaturgs, Scholars, Old Plays, and Modern Directors," in
<i>Dramaturgy in American  Theatre:  A Sourcebook</i>, ed. Susan Jonas,
Geoffrey Proehl, and Michael
Lupu,(Fort Worth:  Harcourt Brace
College Publishers, 1997), pp. 292-307.
<li>"<i>Master Class</i> and the Paradox of the Diva," in <i>Terrence
McNally:  A Casebook</i>, ed. Toby Silverman Zinman (New York:  Garland
Publishing, 1997), pp. 167-179; reprinted in <i>Modern Dramatists:  A Casebook of Major British, Irish, and American
Playwrights</i>,
ed. Kimball King (New York:  Routledge, 2001), pp. 153-166; reprinted in <i>Drama Criticism</i> 27 (Farmington Hills:  
Thomson Gale, 2006) pp. 81-88; reprinted in <i>Drama for Student E-Book Bundle</i>, ed. Mark Milne (Thomson Gale, 2007)
<li>"Playing the  Action:  Building an Interpretation from the Scene Up," 
in <i>Shakespeare Through Performance</i>, ed. MillaCozart  Riggio (New York:  Modern 
Language Association, 1999), pp. 155-168.
<li>"Statues:  Mary Anderson, Shakespeare, and Statuesque Acting," 
in <i>Shakespearean Illuminations:  Essays in Honor of Marvin
Rosenberg</i>,
ed. Jay Halio (Newark:  University of Delaware Press, 1998), pp.
297-308.
<li>"New Theatres for a New Drama," in <i>The Cambridge Companion to
Victorian and Edwardian Theatre</i>, ed. Kerry Powell (Cambridge, Cambridge University Press:  2004), pp. 207-221.
<li>"Dramaturgy in the Classroom:  Teaching Undergraduate Students not to be Students," <i>Theatre Topics</i> 13 (2003) 
135-141.  (Rpt. in <i>Theatre Quarterly,</i> (Tehran) 39 [summer 2005], trans. Behzad Ghaderi.)
<li>"Solanio's Coin:  Excerpts from a Dramaturg's Journal," <i>Shakespeare Bulletin</i> 21 (2003), no. 3, 7-46, and no. 
4 ("Solanio's Coin:  A Postscript"), 28-29.
<li>"Not Not Shakespeare:  Directorial Adaptation, Authorship, and Ownership," <i>Shakespeare Bulletin</i> 23:3 (Fall, 
2005), pp. 23-42.
<li>"Granville Barker and the Court Dramatists," in <i>The Blackwells Companion to Modern British and Irish Drama</i>, 
ed. Mary Luckhurst (Oxford:  Blackwell, 2006) pp. 75-86.
<li>"The Intentional-Fallacy Fallacy," in <in>Staging Shakespeare:   Essays in Honor of Alan C. Dessen</i>, ed. Lena 
Cowan Orlinand Miranda Johnson-Haddad (Newark:  University of Delaware Press, 2007), pp. 99-113.
<li>Rosalind’s Breast," in <i>Shakespeare Re-Dressed:  Cross-Gender Casting in Contemporary Performance</i>, ed. James 
C. Bulman (Madison:  Fairleigh Dickinson University Press, 2008), pp. 96-115.
<li>"The Play Within the Play Outside the Play," in <i>Shakespearean Performance:  New Studies</i>, ed. Frank 
Occhiogrosso (Madison:  Fairleigh Dickinson University Press, 2008), pp. 129-146.
<li><a href="http://www.shaksper.net/archives/2008/0349.html">"Two Cheers for the Intentional Fallacy:  Intention, 
Theatre Practice, and Performance History,"</a> invited contribution to an on-line SHAKSPER forum on Shakespeare and 
Intention, moderated by Cary di Pietro
(http://www.shaksper.net/archives/2008/0349.html); published in revised form as "Intentionality, the Theatre Artist, and the Performance Historian," <i>Style</i> 44 (2010), 404-411.

<li>"Sense/Memory/Sense-Memory:  Reading Narratives of Shakespearean Rehearsals," <i>Shakespeare 
Survey</i> 62 (2009), 328-348.
<li>"<i>Miss Julie</i> at the University of Pennsylvania:  A Case Study in Shared Student-Faculty Theatre Research," <i>New England Theatre Journal</i>, 20 (2009), 104-111.
<li>"Historicizing Spontaneity:  The Illusion of the First Time of 'The Illusion of the First Time,'"  in <i>Shakespeare's Sense of Character:  On the Page and From the Stage</i>, ed. Yu Jin Ko and Michael W. Shurgot (Farnham:  Ashgate 2012), pp. 85-98.  (The volume includes a response from Tiffany Stern:  "(Re:)Historicizing Spontaneity:  Original Practices, Stanislavski, and Characterization"; my response to her response, commissioned by the editors, is available <a href="response.htm">here</a>,)
<li>"Echoes:  Shakespeare, the Reviewer, and the Theatre Historian, Revisited," forthcoming in a special issue of Shakespeare, ed. Paul Prescott.
<li>Introduction and Chapter Two:  Granville Barker, in <i>The Great Shakespeareans</i> 15, ed. Cary M. Mazer  (London:  Bloomsbury., 2013), pp. 1-6, 55-97.
<li>Roberta Barker and Kim Solga, with Cary Mazer, "'Tis Pity She's a Realist:  A Conversational Case Study in Realism and Early Modern Theatre Today," <i>Shakespeare Bulletin</i> 31:4 (Winter 2013) 571-97.
<li>"Documenting the Demotic:  Actor Blogs and the Guts of the Opera Singer," forthcoming in <i>The Oxford Handbook of Shakespeare and Performance</i>, ed. James C. Bulman, Oxford: Oxford University Press.





</ul> <a 
name="reviews"> <h3>Reviews:</h3> <ul>
<li>"Shakespeare in Philadelphia," <i>Shakespeare Quarterly</i> 32 (1981),
200-202.
<li>"Shakespeare in Philadelphia," <i>Shakespeare Quarterly</i> 33 (1982),
224-225.
<li>George Rowell, <i>Theatre in the Age of Irving</i>, and J.P. Wearing, ed.
<i>The London Stage, 1900-1909</i>, <i>Theatre Journal</i> 35 (1983), 
136-137.
<li>"Shakespeare in Philadelphia," <i>Shakespeare Quarterly</i> 34 (1983),
109-110.
<li>Philadelphia Festival Theatre for New Plays, <i>Theatre Journal</i> 35
(1983) 556-558.
<li>J.L. Styan, <i>Max Reinhardt</i>, <i>Comparative Drama</i> 17 (1983) 386-
387.
<li>Elmer W. Salenius, <i>Harley Granville-Barker</i>, <i>Comparative
Drama</i> 18 (1984), 190-191.
<li>John MacNicholas, ed., <i>Twentieth Century American Dramatists</i>
(<i>Dictionary of Literary Biography</i> v. 7), <i>Modern Language Review</i>
79 (1984), 694-695.
<li>Dennis Bartholomeusz, <i>The Winter's Tale in Performance</i>,
<i>Comparative Drama</i> 18 (1984), 285-287.
<li>A.D. Nutall, <i>A New Mimesis</i>, <i>Theatre Journal</i> 36 (1984), 557-
559.
<li>Rinda F. Lundstrom, <i>William Poel's Hamlets: The Director as 
Critic</i>,
<i>Theatre Journal</i> 37 (1985), 388-390.
<li>Allan Wade, <i>The London Theatre 1900-1914</i>, <i>Nineteenth Century
Theatre Research</i> 13 (1985), 106-108.
<li>Philip Highfill, ed., <i>Shakespeare's Craft</i>, <i>Theatre Studies</i>
31/32 (1984-85/1985-86), 114-116.
<li>Margot Peters, <i>Mrs. Pat: The Life of Mrs. Patrick Campbell</i>,
<i>Theatre Survey</i> 26 (1985), 207-209.
<li>James Thomas, <i>The Art of the Actor-Manager: Wilson Barrett and the
Victorian Theatre</i>, <i>Theatre Survey</i> 26 (1985), 210-212.
<li>Ann Marie Koller, <i>The Theatre Duke: Georg II of Saxe-Meiningen and
German Stage</i>, <i>Ibsen News and Comment</i>.
<li>Donald Mullin, ed., <i>Victorian Actors and Actresses in Review</i>, J.P.
Wearing, ed., <i>The London Stage, 1910-1919</i>, and J.P. Wearing, ed., 
<i>The
London Stage, 1920-1929</i>, <i>Theatre Survey</i> 28 (1987), 93-96.
<li>Dennis Kennedy, <i>Granville Barker and the Dream of Theatre</i>,
<i>Theatre Journal</i> 38 (1986), 505-507.
<li>Gary Taylor, <i>To Analyze Delight: A Hedonist Criticism of
Shakespeare</i>, <i>South Atlantic Review</i> 52 (1987), 102-104.
<li>Thomas Postlewait, <i>William Archer on Ibsen</i>, and <i>Prophet of the
New Drama</i>, <i>Theatre Research International</i> 12 (1987), 174-177.
<li>Joseph R. Roach, <i>The Player's Passion</i>, <i>Theatre Research
International</i> 13 (1988), 175-177.
<li>Jonathan Bate, <i>Shakespeare and the English Romantic Imagination</i>,
Richard Allen Cave, ed., <i>The Romantic Theatre:  An International
Symposium</i>, <i>Keats-Shelley Journal</i> 37 (1988), 206-209.
<li>Paul Schlicke, <i>Dickens and Popular Entertainment</i>, <i>Dickens
Quarterly</i> 5 (1988), 195-197.
<li>Sidney Homan, <i>Shakespeare's Theater of Presence:  Language, Spectacle,
and the Audience</i>, <i>Theatre Research International</i> 14 (1989), 194-
195.
<li>Susan Carlson, <i>Women of Grace:  James's Plays and the Comedy of
Manners</i>, <i>Theatre Research International</i> 14 (1989) 203-205.
<li>Charles H. Shattuck, <i>Shakespeare on the American Stage, Volume 2:  
From
Booth and Barrett to Sothern and Marlowe</i>, <i>Essays in Theatre</i> 7
(1988), 83-85.
<li>J.S. Bratton, ed., <i>King Lear</i>, Julie Hankey, ed., <i>Othello</i>,
Jill L. Levenson, <i>Shakespeare in Performance:  Romeo and Juliet</i>,
<i>Theatre Survey</i> 28 (1987), 119-122 .
<li>Review of <i>Hamlet</i>, People's Light and Theatre Company,
<i>Shakespeare Bulletin</i> 6 (March/April 1988), 14.
<li>Review of <i>Julius Caesar</i>, Philadelphia Drama Guild, <i>Shakespeare
Bulletin</i>.
<li>John Stokes, Michael R. Booth, and Susan Basnett, <i>Bernhardt, Terry,
Duse:  The Actress in Her Time</i>, <i>English Literature in Transition, 
1880-
1920</i> 32 (1989), 355-357.
<li>Review of <i>The Winter's Tale</i>, ACTER, <i>Shakespeare 
Bulletin</i> 8
(Winter, 1990), 27.
<li>Review of <i>As You like It</i>, ACTER, <i>Shakespeare Bulletin</i>.
<li>Review of Shakespeare productions in Philadelphia, 1991, <i>Shakespeare
Bulletin</i>.
<li>James P. Lusardi and June Schlueter, <i>Reading Shakespeare in
Performance:  King Lear</i>, <i>Shakespeare on Film and Video Newletter</i>.
<li>Irvin Leigh Matus, <i>Shakespeare:  the Living Record</i>, <i>Theatre
Research International</i> 17 (1992), 160.
<li>Review of <i>The Tempest</i>, ACTER, <i>Shakespeare Bulletin</i> (v. 11,
no. 3), 26-27.
<li>Joel H. Kaplan and Sheila Stowell, <i>Theatre and Fashion:  Oscar 
Wilde to
the Suffragettes</i>, <i>Theatre Survey</i> 36 (1995), 120-122.
<li>Attilio Favorini, <i>Voicings:  Ten Plays from the Documentary 
Theatre</i>, <i>Theatre Survey</i> 37 (1996), 143-146.
<li>J. Ellen Gainor, ed., <i>Imperialism and Theatre:  Essays on World 
Theatre, Drama And Performance</i>, and David Mayer, ed., <i>Playing Out 
The Empire:  Ben-Hur and other Toga Plays and Films, 1883-1908</i>, 
<i>Theatre Survey</i> 37 (1996), 149-152.
<li>Alan C. Dessen, <i>Recovering Shakespeare's Theatrical 
Vocabulary</i>, <i>American Notes and Queries</i> 11 (1998) 43-46.
<li>Marvin Rosenberg, <i>The Masks of Hamlet</i>, <i>Shakespeare Bulletin</i>.
(v. 14. no. 4) 41.
<li>Barbara Hodgdon, <i>Henry IV, Part Two</i>
(<i>Shakespeare in 
Performance</i>), <i>Shakespeare Bulletin</i> (v. 14, no. 4) 44-45.
<li>W. B. Worthen, <i>Shakespeare and the Authority of Performance</i>,
forthcoming
     in <i>Shakespeare Studies</i>.
<li>Gary Jay Williams.  <i>Our Moonlight Revels:  </i>A Midsummer Night's
Dream<i> in
     the Theatre</i>, and Trevor R. Griffiths, ed., M,<i>A Midsummer
Night's
     Dream</i> (<i>Shakespeare in Production</i>),
</i>Shakespeare
     Quarterly</i> 50 (1999), 91-94.
<li>Peter Holland, <i>English Shakespeares:  Shakespeare on the English Stage
     in the 1990s</i>, <i>Essays in Theatre/...tudes
Thêátrale</i> 17 (1999), 180-183.
<li>Richard Foulkes, <i>Church and Stage in Victorian England</i>, and
Richard W.
     Schoch, <i>Shakespeare's Victorian Stage:  Performing History in the
     Theatre of Charles Kean</i>, <i>Theatre Survey</i> 40:1 (1999) 113-116.
<li>Kerry Powell, <i>Women and Victorian Theatre</i>, and Gail Marshall, <i>Actresses on the Victorian Stage:  Feminine
Performance and
the Galatea Myth</i>, <i>Theatre Survey</i> 40:2 (1999), 88-92
<li>James L. Harner, ed., <i>The World Shakespeare Bibliography, 1980-1996</i>, <i>Theatre Survey</i> 42:2 (2001), 223-224.
<li>Tracy C. Davis, <i>The Economics of the British Stage, 1800-1914</i>, <i>Theatre Survey</i> 43:1 (2002), 91-94.
<li>Alan C. Dessen, <i>Rescripting Shakespeare:  The Text, the Director, and Modern Productions</i>, <i>Shakespeare 
Quarterly</i> 55 (2004), 77-80.
<li>Roslyn Lander Knutson, <i>Playing Companies and Commerce in Shakespeare's Time</i>, and Steven Adler, <i>Rough 
Magic:  Making Theatre at the Royal Shakespeare Company</i>, <i>Theatre Survey</i> 44:1 (2003), 142-145.
<li>Richard W. Schoch, <i>Not Shakespeare:  Bardolatry and Burlesque in the Nineteenth Century</i>, <i>Theatre 
Survey</i> 44:1 (2003), 148-150. 
<li>Stanley Wells and Sarah Stanton, eds., <i>The Cambridge Companion to Shakespeare on Stage</i>, <i>Theatre 
Survey</i> 44:2 (2003), 313-315.
<li>Gillian Day, <i>Shakespeare at Stratford:  King Richard III</i>; Miriam Gilbert, <i>Shakespeare at Stratford:  The 
Merchant of Venice</i>; Patricia E. Tatspaugh, <i>Shakespeare at Stratford:  The Winter's Tale</i>, <i>Theatre 
Survey</i> 45 (2004), 155-158.
<li>W. B. Worthen, <i>Shakespeare and the Force of Modern Performance</i>, <i>Theatre Survey</i> 45 (2004), 305-307.
<li>Adrian Poole, <i>Shakespeare and the Victorians</i>;  Gail Marshall and Adrian Poole, eds., <i>Victorian 
Shakespeare, Volume I:  Theatre, Drama and Performance</i>, forthcoming in <i>Nineteenth Century Theatre and Film</i>. 
<li>Virginia Mason Vaughan and Alden T. Vaughan, eds., <i>Shakespeare in American Life</i>; Frances Teague, 
<i>Shakespeare and the 
American Popular Stage</i>; Jacob Gordin, <i>The Jewish King Lear:  A Comedy in America</i>, translated by Ruth Gay, 
<i>American Literary History</i> 21 (2009), 316-323.

</ul> <a 
name="misc"> <h3>Miscellaneous</h3> 
<ul> <li>Contribution to Marvin Rosenberg, "<i>Hamlet</i> in the Theatre,"
<i>Hamlet Studies</i> 5, p. 93.
<li>Five entries in <i>Shakespeare Around the Globe: A Guide to Notable
Postwar Revivals</i>, ed. Samuel L. Leiter (Westport: Greenwood Press, 1986),
pp. 13-14, 442-444, 446-447, 576-577, 586-587.
<li>23 entires in <i>The Shakespeare Encyclopedia</i>, ed. Patricia Parker, forthcoming from Greenwood Press.

</ul>
<a name="jour">
<h3>Journalism:</h3>
<ul>
<li>Theatre Critic for <i>Philadelphia City Paper</i>, 1986-present.
<li>Guest theatre critic, <i>Philadelphia Inquirer</i> and <i>American
Theatre</i>.
<li>Several reviews of Shakespeare productions have been reprinted in
<i>Shakespeare Bulletin</i>.
<li>Post-Performance discussion leader, Symposium speaker, etc:  Walnut 
Street
Theatre, Philadelphia Festival Theatre for New Plays, Wilma Theatre, Women's
Ensemble Theatre, Philadelphia Hospitality, Delaware Theatre Company,
Annenberg Center, Mint Theatre (NY), Philadelphia Shakespeare Theatre.
</ul>
<a name="papers">
<h2>Papers:</h2>
<ul>
<li>"Shakespeare in Performance and the Study of Theatre History," NEH
Symposium on Shakespeare in Performance, University of Illinois, 1977.
<li>"The 1909 Haymarket Production of <i>King Lear</i>," Ohio State 
University
Theatre Institute Conference on Shakespeare on Stage, 1980.
<li>"Shakespeare on Broadway, 1930-1980," American Society for Theatre
Research Annual Meeting, New York, 1981.
<li>"Shakespeare Production, Society and Culture," seminar paper, Shakespeare
Association of America Conference, Minneapolis, 1982.
<li>"The Actor-Manager as Metaphor: Shakespearean Acting and the Art of Self-
Presentation," seminar paper, Shakespeare Association of America Conference,
Cambridge, 1984.
<li>"The Criminal as Actor: H.B. Irving as Criminologist and Shakespearean,"
Conference on Shakespeare and the Victorian Stage, Victorian Studies
Institute, University of Leicester, 1984.  (see "Publications: Articles"
above).
<li>"The Play-Doctor as Director: Joseph Papp Directs <i>Henry V</i>, 1976,"
seminar paper, Shakespeare Association of America Conference, Nashville, 
1985.
<li>Chair, seminar on "The Scholar as Dramaturg and Rehearsal Eye-Witness,"
Shakespeare Association of America Conference, Montreal, 1986.  (Also:
respondent, seminar on "Renaissance Perceptions of the Actor").
<li>"Mr. Wopsle's Successors," Dramatic Dickens Symposium, University of
Pennsylvania, 1986.
<li>"Edwardian Acting and Self-Portraiture," Symposium on Icon~ography 
and the
Theatre, in honor of the retirement of Kalman A. Burnim, Tufts University,
1987.
<li>"Svengali's Portrait, or, Edwardian Shakespeare Reanimated,"  University
of Pennsylvania Graduate English Association annual Collation, 1987.  (Other
versions:  University of Pittsburgh, 1988).
<li>"Shakespeare, Ideology, and Performance:  The Case of a Radical 
Right-Wing
<i>Hamlet</i>," seminar paper, Shakespeare Association of America Conference,
Boston, 1988.  (Other versions:  University of California, Santa Cruz, 1990).
<li>Chair, seminar on "Shakespeare and the American Actor," Shakespeare
Association of America Conference, Austin, 1989.
<li>"Male Jekyll, Female Hyde:  Victorian Acting Theory, Gender,and the
Divided Self," English Department, University of Washington, 1989.
<li>"Edwin Forrest:  Acting and the Image of the New Republic,"  Historical
Society of Pennsylvania, 1989.
<li>"Theatre History, Theatre Historiography, and Theatre Studies:  ASTR's
Response to New Methodologies," ACLS Conference of Administrative Officers,
Wye Woods, 1989.
<li>Respondent, seminar on "Acting Funny," Shakespeare Association of America
Conference, Philadelphia, 1990.
<li>Chair, seminar on "Theatre from 1660-1945," Shakespeare Institute
Conference, Stratford-upon-Avon, 1990.
<li>"The New Elizabethanism and the Old:  Theatre Research and the
Construction of Historical Narrative," Panel on "Digging it Up Again:  The
Globe Project and the Historians," American Society for Theatre Research
annual meeting, Toronto, 1990.
<li>"The (Historical) Actor and the Text," workshop on "Working with 
Actors on
Shakespeare's Language," Shakespeare Association of America Conference,
Vancouver, 1991.  (see "Publications: Articles" above).
<li>"Acting in Utopia:  The Theatrical Revolution of 1923 in `The Theatrical
Revolution' of 1893,"  American Society for Theatre Research annual meeting,
Seattle, 1991.
<li>Panelist, Dramaturgy sub-group, East Central Theatre Conference,
Baltimore, 1992
<li>Respondent, seminar on "After the Shakespeare Revolution," Shakespeare
Association of America Conference, Kansas City, 1992.
<li>"Historicizing Alan Dessen: Scholarship, Stagecraft and the `Shakespeare
Revolution,'" seminar on "Performance since 1945," Shakespeare Institute
Conference, Stratford-upon-Avon, 1992.  (see "Publications: Articles" above).
<li>"Reading the Performance:  Production Styles and Aesthetics," Colloquium
on "Shakespeare in Performance, Then and Now," Farleigh Dickenson University,
1992.
<li>Panelist, Dramaturgy sub-group, East Central Theatre Conference,
Philadelphia, 1993.
<li>"Mapping Actorly Reading:  A Retrospective Baedeker,"  seminar on 
"Actorly
Reading," Shakespeare Association of America, Atlanta, 1993.
<li><a
href="http://sterling.holycross.edu/departments/theatre/projects/isp/measure/essay/1_1_DesparateMeasures.html">"Desperate
Measures: Politics and the Process of
Performance,"</a> 
New 
Jersey
Shakespeare Festival Colloquium, 1993.
<li>"Statues:  Mary Anderson, Shakespeare, and Statuesque Acting," 
seminar on
"Nineteenth-Century Shakespeare," Shakespeare Association of America
Conference, Albuquerque, 1994.
<li>Participant, seminar on "Living in the Gap," Shakespeare Association of
America Conference, Chicago, 1995.
<li>"Shakespearean Acting Within and Against Emotionalist Paradigms or, How
Many Super-Objectives Had Lady Macbeth?," panel on "Early-Modern 
Subjectivity,
Twentieth-Century Acting," Shakespeare Association of America Conference,
Chicago, 1995.

<li>Oscar Wilde and Society Drama," seminar for teachers, Delaware Theatre
     Company, 1995.
<li>Chair, panel on "The Theatre of Ideas," with Tom Stoppard and members of
     the Philadelphia Theatre Community, Steinberg Symposium, University
     of Pennyslvania, 1996.
<li>Co-Chair, seminar on "Shakespeare and the Twentieth-Century Director:
     "Populist" Shakespeare, International Shakespeare Assocaition
     Conference, Los Angeles, 1996.
<li>"When Paradigms Change:  Writing about the Actor,"  seminar on
"Writing about Performance," Shakespeare Association of America
Conference, Washington, DC, 1997.
<li>"Beside Oneself:  Self-Address, Pronouns and Personation in
     Shakespearean Representations of Character," seminar on "Addressing
     the Envelope," Shakespeare Association of America, Cleveland, 1998.

<li>"'Wounds Invisible':  Personation and Empathy in <i>As You Like It</i>," Seminar on "'A lover or a tyrant?':  The Early
Modern Subject
as Actor," Shakespeare Association of America, San Francisco, 1999.

<li>"'The Teares of Ten Thousand Spectators': Historicizing Emotion and Audience Response in Early-Modern Theatre," 
Seminar on 
"Laughter and Tears: Historicizing Emotion and Audience Response," Shakespeare Association of America, Montreal, 2000.

<li>"Learning to love Fallacious Characterology,"" Columbia Shakespeare Seminar, 2001.

<li>Chair, Seminar on "Personation," Shakespeare Association of America, Miami, 2001. 

<li>"The Intentional-Fallacy Fallacy:  The Dramaturg, the Director, and the Script," conference on "The Invisible Art:  
Dramaturgy in American Theatre" in honor of the retirement of Lee Devin, Swarthmore College, 2003.  (See 
Publications:  Articles.)
<li>"Confidence Men:  The Dramaturg and the Theatre Historian," Seminar on <li>"Documenting Performance/Performing the 
Document," American Society for Theatre Research, Durham, 2003.
<li>"Rosalind's Breast," Seminar on "Cross-Dressing in Contemporary Performances of Shakespeare," Shakespeare 
Association of America, New Orleans, 2004.  (See Publications:  Articles)
<li>"Not Not Shakespeare:  Directorial Adaptation, Authorship, and Ownership," Seminar on "Altering the Past, 
Directing thePresent:  Adaptations and Appropriations of the Early Modern Canon,"  Shakespeare Association of America, 
Bermuda, 2005.  (See Publications:  Articles)
<li>"Frames:  The Play Within the Play Outside the Play," conference on Shakespeare in Performance II, Drew University, 
2005.  (See Publications:  Articles)
<li>"The Spear-Carrier under the Platform, or, the Perils of Documentation," Shakespeare Association of America, 
Philadelphia,  2006.
<li>"Dramaturgy, Scholarship, and the Ethics of the Rehearsal Room," seminar on "Live Subjects: The Pleasures and Perils 
of Field Research," American Society for Research, Chicago, 2006.
<li>"Shakespeare, the Reviewer, and the Theatre Historian, Revisited," seminar on "Performance Criticism:  The State of 
the Art," Shakespeare Association of America, San Diego, 2007.
<li>"Echo Chambers," Shakespearean Performance Research Group, American Society for Theatre Research, Phoenix, 2007.
<li>"What Directors Can’t/Won’t Teach Scholars, What Scholars Can/Can’t/Do/Don’t Learn From Directors," seminar on 
"What Can Scholars Learn from Play Directors/ What Can Directors learn from Scholars?" Shakespeare Association of 
America, Dallas, 2008. 
<li>"The First Thing We Do is Kill All the Editors:  Towards a Rehearsal-friendly Shakespeare Script," Literary 
Managers and Dramaturgs of the Americas conference, San Diego, 2008.
<li>"Performance without Performativity," seminar on "Shakespeare and Performance Theory," Shakespeare Association of 
America conference, Washington, DC, 2009.
<li>"Historicizing Spontaneity:  The Illusion of the First Time of 'The Illusion of the First Time,'" Shakespeare and 
Performance Working Group, American Society for Theatre Rearch, San Juan, 2009.(se publication: articles)
<li>Co-Chair, seminar on "Shakespeare and Emotional Realism on the Modern Stage," Shakespeare Association of America conference, Chicago, 2010.
<li>"Transhistoricizing Affect: Empathic Spectatorship Then and Now, " Shakespeare and Performance Working Group, American Society for Theatre Research, Seattle, 2010.
<li>"Shakespeare and Stanislavski 2.0, " Shakespeare and Performance Working Group, American Society for Theatre Research, Montreal, 2011.
<li>"Performer, Identity, Performance: The Emotionally-Realist Actor in the Post-Modern Role," Shakespeare and Performance Working Group, American Society for Theatre Research, Nashville, 2012.
<li>Chair, Seminar on "Contemporary Actors and Evidence, " Shakespeare Association of America, Toronto, 2013.
<li>"Our Frames, Ourselves," Shakespeare and Performance Working Group, American Society for Theatre Research, Dallas, 2013.
<li>"Annabella's Bed and Juliet's Chair, "Seminar on "Exhibiting the Early Modern: Gestus, Memory, Space," Shakespeare Association of America, St. Louis, 2014.  
<li>"'Original Practices' and Modernism: the case of Granville Barker," Shakespeare and Performance Working Group, American Society for Theatre Research, Baltimore, 2014.
<li>"Double Shakespeares," Stockton Performing Arts Center, The Richard Stockton College of New Jersey, 2015; Fairleigh Dickinson University, 2015; University of Scranton, 2016.  
<li>"Self-Evidence:  Performance as Research," Shakespeare and Performance Working Group, American Society for Theatre Research, Portland, 2015.
<li>"Transactions:  Not, Not-Not, and Not-Not-Not Shakespeare," Shakespeare and Performance Working Group, American Society for Theatre Research, Minneapolis, 2016.
<li>"History Has its Eyes on You: A How-To Guide to Controlling Who Lives, Who Dies, Who tells Your Story," Shakespeare Association of America, Atlanta, 2017.
</ul><a name="theatre">
<a name="directing">
<h2>Directorial Experience:  Productions</h2>
<ul>
<li><i>Pericles</i>, Shakespeare, Theatre Division, Columbia University, 
1978.
<li><i>The Devil's Disciple</i>, Shaw, Princeton Summer Theatre, 1980.
<li><i>Not I</i> and <i>Rockaby</i>, Beckett, Intuitons, University of
Pennsylvania, 198l.
<li><i>As You Like It</i>, Shakespeare, Penn Players, University of
Pennsylvania, 1982.
<li><a href="electra.html"><i>Electra</i></a>, Euripides, 
Theatre Arts Program, University of Pennsylvania, 1983.
<li><a href="rich.html"><i>Richard II</i></a>, Shakespeare, Theatre Arts 
Program, University of
Pennsylvania, 1989.  Reviewed in <i>Shakespeare Bulletin</i> 7 no. 3 
(May/June
1989) 15-16.
<li><a href="peter.html"><i>Playing with Peter</i></a> (incorporating the 
text of <i>Peter Pan</i> by
J.M. Barrie), Theatre Arts Program, University of Pennsylvania, 1990.
<li><a href="malfi.html"><i>The Duchess of Malfi</i></a>, Webster, Theatre 
Arts Program, University of
Pennsylvania, 1992.  Reviewed in <i>Shakespeare Bulletin</i> 12 no. 2 (Spring
1994) 29-30, along with "Space, Signs, and Voyeurism in <i>The Duchess of
Malfi</i>:  An Interview with Cary M. Mazer," by Jean Peterson, pp. 28-29.
<li><a href="julie.html"><i>Miss Julie</i></a>, August Strindberg, Theatre 
Arts Program, University of
Pennsylvania, 1995.
<li><a href="http://dept.english.upenn.edu/~tharts/playbill.html"><i>A Dream 
Play</i></a>, after the play by August Strindberg, 
Theatre Arts Program, University of Pennsylvania, 1996 (also at the 1996 
Edinburgh Fringe Festival).
<li><a href="http://dept.english.upenn.edu/~tharts/two_gents.html"><i>The
Two Gentlemen of Verona</a></i>, William Shakespeare, Theatre Arts
Program, University of Pennsylvania, 1999.  Analyzed in Sarah Werner, <i>Shakespeare and Feminist Performance:  
Ideology on
Stage</i>
(London:  Routledge, 2001), pp. 96-104.
<li><a href="http://www.english.upenn.edu/~tharts/old%20times.htm"><i>Old Times</a></i>, by Harold Pinter, Theatre Arts
Program, University of Pennsylvania, 2000.
<li><a href=" http://www.sas.upenn.edu/theatrearts/archives/MajorBarbara.html"><i>Major Barbara</a></i>, G. Bernard 
Shaw, Theatre Arts Program, University of Pennsylvania, 2003.
<li><i>Transfixed</i>, an original documentary theatre piece conceived and compiled by Elisa Asencio, Nikhil Dhingra, Ali-Reza Mrsajadi, and Richard Norman, University of Pennsylvania, 2010.
<li><i>Look/Alive</i>, an original adaptation of stories by Ovid, Grimm, Anderson, and others, conceived and adapted with the cast, Theatre Arts Program, 2011 (and at the Edinburgh Festival Fringe and the Philadelphia Fringe Festival).
<li><i>All's Well that End Well</i> by William Shakespeare, Theatre Arts Program, University of Pennsylvania, 2017.

</ul>
<h2>Directorial Experience: semi-staged script-in-hand readings</h2>
<ul>
<li><i>The Spanish Tragedy</i>, Thomas Kyd, The Red
Heel Theatre, Philadelphia, 1993.
<li><i>The Good Person of Szechwan</i>, Bertolt Brecht, Theatre Arts Program, University of Pennsylvania, 1996.
<li><i>Spring Awakening</i>, Frank Wedekind, Theatre Arts Program, University of Pennsylvania, 1999.
<li><i>Engaged</i>, William S. Gilbert, Theatre Arts Program, University of Pennsylvania, 2008.
<li><i>Cyrano de Bergerac</i>, Edmond Rostand, translated by Michael Hollinger, adapted by Michael Hollinger and Aaron Posner, Theatre Arts Program, University of Pennsylvania, 2011.
<li><i>The Octoroon</i>, Dion Boucicault, Theatre Arts Program, University of Pennsylvania, 206.

</ul> <a name="dramaturgy">
<h2>Dramaturgy:</h2>
<ul>
<li><a href="imp.html"><i>The Importance of Being Earnest</i></a>, 
directed by Michael McCallion, People's Light & Theatre Company, 1993.
<li><a href="mis.html"><i>Misalliance</i></a>, directed by Abigail Adams, 
People's Light & Theatre Company, 1994.
<li><a href="http://www.english.upenn.edu/~cmazer/hh.html"><i>Heartbreak House</i></a>, directed by Abigail Adams, People's
Light &
Theatre Company, 1998.

<li><a href="mv.html"><i>The Merchant of Venice</i></a>, directed by James J. Christy, People's Light & Theatre 
Company, 2002.
</ul>
<a name="courses">
<h2>Courses Taught</h2>
Columbia University:
<ul>
<li>The Theatre of Shakespeare and his Contemporaries (scene study).
</ul>
University of Pennsylvania:
<ul>
<li>Script analysis (on freshman, upperclass, and graduate levels)
<li>Theatre History
<li>Modern Drama:  Ibsen to WWI
<li>Modern Drama:  WWI to the Present
<li>Twentieth Century Theatrical Theory and Dramaturgy
<li>Shakespeare
<li>Shakespeare in Performance
<li>Shakespeare Performance History
<li>Shaw and his Contemporaries (graduate)
<li>Tudor and Stuart Drama
<li>Nineteenth Century Drama and Theatre (graduate, co-taught with Nina
Auerbach)
<li>London:  The City and the Theatre (London)
<li>The London Theatre Experience (London)
<li>Shakespeare:  Methods of Stage-Centered Analysis (graduate)
<li>Ibsen and the English Ibsenites (graduate)
<li>Shakespeare:  Performance History, 1660-Present (graduate)
<li>Introduction to Theatre
<li>Topics in Theatre History:  Romanticism, Melodrama, and Realism
<li>Topics in Theatre History:  Commedia dell'Arte and its Legacy
<li>Topics in Theatre History:  American Theatre
<li>Topics in Theatre History:  Baroque and Neoclassical
<li>Topics in Theatre History:  Victorian Theatre
<li>Topics in Theatre History:  "Realisms"
<li>Creating, Managing, and Presenting the Arts (co-taught with Larry
Robbins, joingtly offered with the Wharton School)
<li>Modern Scholarship, Contemporary Performance, Early-Modern Scripts (graduate)
<li>Dramaturgy
<li>Theatre Criticism
<li>Topics in Theatre History:  Comparative Cross-Dressing
<li>Topics in Theatre History:  Popular Comic Theatres
<li>Acting Shakespeare
<li>Topics in Theatre History:  Theatre in Times of Social Crisis.
<li>Theories of Theatre
<li>Shakespeare:  Text, Script, Performance, Performance History (graduate)
<li>Topics in Theatre History:  American Theatre Left and Right:  Performance, Culture, and Politics in the 1930s, 
50s, and 80s
<li>Theatre, History, Culture III: Modernism to Post-Modernism 
<li>Directing.
<li>Topics in Theatre History:  Blackface, Yellowface, Redface, Jewface:  Theatrical Representations of "Others."
<li>Additional teaching fields:  Contemporary Drama and Theatre, Writing about Performance.
</ul>