Cary M. Mazer
Curriculum Vita
Education:
- AB, Princeton University, 1974: English
- MA, Columbia University, 1976: Theatre
- PhD, Columbia University, 1980: Theatre
Academic Employment:
- Preceptor in Theatre, Columbia University, summer 1979.
- Lecturer in English, University of Pennsylvania, 1979-80.
- Assistant Professor of English, University of Pennsylvania, 1980-87.
- Associate Professor of English (with tenure), University of Pennsylvania,
1987-2002.
- Associate Professor of Theatre Arts and English, 2002-present. (see "courses taught" below)
Related Employment and Teaching:
- Assistant to Theatre Librarian, Seymour Theatre Collection, Princeton
University, summer 1974.
- Production Assistant to Joseph Papp, Henry V, Delacorte
Theatre, 1976.
- 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).
- Assistant Director, NEH Humanities Institute on Shakespeare in
Performance, Folger Institute, 1982 (see "publications: Books" below).
- Academic Consultant, Annenberg Center outreach programs for secondary
school teachers on Shakespeare in Performance, 1982, 1984.
- Guest Lecturer, Philadelphia Alliance for Teaching Humanities in the
Schools (PATHS) Colloquium, Rosenbach Collection, 1985.
- Theatrical Consultant/Coordinator/Lecturer, PATHS summer Institute on
Shakespeare and his World, LaSalle University, summer 1985.
- Consultant, PATHS Shakespeare Project, West Philadelphia High School,
1985-86.
- Consultant, "Activating Shakespeare" seminars for New Jersey teachers,
Farleigh Dickinson University, 1987.
- Consultant, "Voices of Dissent," Symposium on the Arts as a Force in
Social Change, Philadelphia, 1987.
- Resident Scholar, NEH Humanities Institute on Shakespeare for Secondary
School Teachers, Folger Institute/Stratford-upon-Avon, 1990.
- Faculty, Folger Institute on "Shakespeare Examined Through Performance,"
1995-96.
- Guest lecturer, NEH-funded "Theatre History Initiative," Shakespeare Theatre, Washington, DC, 2003, 2005.
Administrative Experience:
- Member, Graduate Committee, English Department, University of
Pennsylvania, 1980-81.
- Co-Chair, Theatre Arts Program, University of Pennsylvania, 1980-87;
- Chair, 1987-2004.
- For the Theatre Arts Program:
- Chair, Sub-Committee for Program Planning, 1979-80; Performance Sub-
Committee, 1983-84, 1987-89.
- Member, Undergraduate Communications Committee, University of
Pennsylvania, 1982-87.
- Chair, Junior Faculty Committee, English Department, University of
Pennsylvania, 1984-85.
- Member, Faculty Senate Executive Committee and University Council,
University of Pennsylvania, 1987-89.
- Member, Governing Board, WXPN Radio, 1988-90.
- Member, Women's Studies Advisory Committee, 1990-present.
- Member, Graduate Committee, English Department, University of
Pennsylvania, 1992-93.
- Member, School of Arts and Sciences Admissions Committee, 1994-5.
- Member, School of Arts and Sciences Committee on Individualized Study,
1997-99.
- Member, School of Arts and Sciences Teaching Awards Committee, 2003-4.
- Member, School of Arts and Sciences Curiculum Committee, 2006-7.
- Member, Faculty Senate Committee on Publication Policy for the Almanac, 2008-2009.
Professional Responsibilities:
- Executive Secretary, American Society for Theatre Research (ASTR), 1983-
92.
- Also for ASTR:
- Member, Ad Hoc Committee for Budget and Development, 1981.
- Member, Treasurer Search Committee, 1984-85.
- Member, Ad Hoc Bernard Beckerman Memorial Committee.
- Member, Research Committee, 1986-89.
- Member, Special Committee for Finance.
- Member, Special By-laws Committee, 1992-93.
- Member, Secretary Search Committee, 1992.
- Member, Special Committee to redefine the position of Secretary, 1994.
- Acting Delegate to ACLS, 1994.
- Liaison with American Theatre Critics Association, 1995-97.
- Local Arrangements Chair, Philadelphia Meeting, 2002
- Chair, Awards Committe, 2003-5
- Member, Executive Committee, 2003-2005.
- ASTR delegate to the American Council of Learned Societies Conference of
Administrative Officers (formerly the Conference of Secretaries),
1983-92.
For ACLS Conference of Administrative Officers:
- Nominating Committee, 1985, 1986, 1989.
- Executive Committee, 1988-90.
- 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.
- Juror, Shakespeare Association of America Annual Meeting, 1989.
- Member, Board of Directors, The Red Heel Theatre, 1991-1994.
- Judge, National Critics Institute, Kennedy Center/American College
Theatre
Festival Region II, Pennsylvania State University, 1994.
- Academic Advisory Council, The Mint Theatre, New York City, 2007-present.
Professional Memberships:
- American Society for Theatre Research
- Shakespeare Association of America
- Association for Theatre in Higher Education
- Modern Language Association
- The Society for Theatre Research (U.K.)
- International Federation for Theatre Research
- American Theatre Critics Association
- Literary Managers and Dramaturgs Association
Awards and Honors:
- Honors in English, Princeton University, 1974.
- Pearl Hickman Dramatic Arts Fellowship, Berkeley, 1974-75.
- American Society for Theatre Research Venice Scholarship, 1977.
- Distinction, Doctoral Dissertation, Columbia University, 1980.
- Summer Research Grant, University of Pennsylvania, 1981.
- ACLS Fellowship for Recent Recipients of the PhD, 1982-83.
- Summer Research Grant and Grant-in-Aid, University of Pennsylvania,
1984.
- ACLS Travel Grant, 1984.
- American Theatre Association Award for the Outstanding Article on Theatre
Published in English in 1984, for "Treasons, Stratagems, and Spoils," (see
"Publications: Articles" below)
- Summer Grant-in-Aid, University of Pennsylvania, 1988.
- International Programs Fund grant, University of Pennsylvania, 1989.
- Dean's Award for Mentoring Undergraduate Research, University of Pennsylvania, 2001.
Publications:
Books:
- Shakespeare Refashioned: Elizabethan Plays on Edwardian Stages (Ann
Arbor: UMI Research Press, 1981).
- Shylock's Beard: A Jewish Dramaturg's Journal [In progress: a first-person narrative of the process of
rehearsing The Merchant of Venice at People's Light & Theatre Company, with scholarly reflections on Shakespeare
in Performance, dramaturgy, Jewish identity, communities of reception, and adoption; see articles: "Solanio's Coin:
Excerpts from a Dramaturg's Journal."]
Articles
- "Bill Walker's Sovereign: A Note on Sources" Shaw: The Annual of
Bernard Shaw Studies 3 (1983), 117-119.
- "Treasons, Stratagems, and Spoils: Edwardian Actor-Managers and the
Shakespeare Memorial National Theatre," Theatre Survey 24 (1983),
1-33.
Recipient of the American Theatre Association Award for the Outstanding
Article on Theatre Published in English in 1984.
- "Actors or Gramophones: The Paradoxes of Granville Barker," Theatre
Journal 36 (1984), 5-23.
- "Ibsen and the Well-Made Play," in Approaches to Teaching Ibsen's A
Doll House, ed. Yvonne Shafer (New York: Modern Language Association,
1985), pp. 69-75. (see also pp. 17-18).
- "Shakespeare, the Reviewer, and the Theatre Historian," Shakespeare
Quarterly 36 (1985), 648-661.
- "Shakespeare and the Theatre of Illustration," in A Brush with
Shakespeare: The Bard in Painting, 1780-1910, 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).
- "The Criminal as Actor: H.B. Irving as Criminologist and Shakespearean,"
in Shakespeare and the Victorian Stage, ed. Richard Foulkes,
(Cambridge: Cambridge University Press, 1986), pp. 106-119.
- "Finders Keepers: Recent Scholarship on Granville Barker," a review
essay,
Nineteenth Century Theatre 15 (1987) 34-49.
- "The (Historical) Actor and the Text," Shakespeare Bulletin, 10,
no. 1 (Winter 1992), 18-20.
- "The Voysey Inheritance," Harley Granville Barker: An
Edinburgh
Retrospective, ed. Jan MacDonald and Leslie Hill (Glasgow: Theatre
Studies Publications, 1993), pp. 50-68.
- "On Heroes and Dramatic Hero-Worship," a review essay on Anthony Jenkins,
The Making of Victorian Drama, Review 15 (1993), 85-92.
- "Loose Canons: Recent Scholarship on Victorian Drama," a review essay,
Nineteenth Century Theatre 22 (1994), 56-72.
- "Historicizing Alan Dessen: Scholarship, Stagecraft and the `Shakespeare
Revolution,'" in Shakespeare, Theory, and
Performance, ed. James C. Bulman, (London: Routledge, 1996), pp.
149-167.
- "Rebottling: Dramaturgs, Scholars, Old Plays, and Modern Directors," in
Dramaturgy in American Theatre: A Sourcebook, ed. Susan Jonas,
Geoffrey Proehl, and Michael
Lupu,(Fort Worth: Harcourt Brace
College Publishers, 1997), pp. 292-307.
- "Master Class and the Paradox of the Diva," in Terrence
McNally: A Casebook, ed. Toby Silverman Zinman (New York: Garland
Publishing, 1997), pp. 167-179; reprinted in Modern Dramatists: A Casebook of Major British, Irish, and American
Playwrights,
ed. Kimball King (New York: Routledge, 2001), pp. 153-166; reprinted in Drama Criticism 27 (Farmington Hills:
Thomson Gale, 2006) pp. 81-88; reprinted in Drama for Student E-Book Bundle, ed. Mark Milne (Thomson Gale, 2007)
- "Playing the Action: Building an Interpretation from the Scene Up,"
in Shakespeare Through Performance, ed. MillaCozart Riggio (New York: Modern
Language Association, 1999), pp. 155-168.
- "Statues: Mary Anderson, Shakespeare, and Statuesque Acting,"
in Shakespearean Illuminations: Essays in Honor of Marvin
Rosenberg,
ed. Jay Halio (Newark: University of Delaware Press, 1998), pp.
297-308.
- "New Theatres for a New Drama," in The Cambridge Companion to
Victorian and Edwardian Theatre, ed. Kerry Powell (Cambridge, Cambridge University Press: 2004), pp. 207-221.
- "Dramaturgy in the Classroom: Teaching Undergraduate Students not to be Students," Theatre Topics 13 (2003)
135-141. (Rpt. in Theatre Quarterly, (Tehran) 39 [summer 2005], trans. Behzad Ghaderi.)
- "Solanio's Coin: Excerpts from a Dramaturg's Journal," Shakespeare Bulletin 21 (2003), no. 3, 7-46, and no.
4 ("Solanio's Coin: A Postscript"), 28-29.
- "Not Not Shakespeare: Directorial Adaptation, Authorship, and Ownership," Shakespeare Bulletin 23:3 (Fall,
2005), pp. 23-42.
- "Granville Barker and the Court Dramatists," in The Blackwells Companion to Modern British and Irish Drama,
ed. Mary Luckhurst (Oxford: Blackwell, 2006) pp. 75-86.
- "The Intentional-Fallacy Fallacy," in Staging Shakespeare: Essays in Honor of Alan C. Dessen, ed. Lena
Cowan Orlinand Miranda Johnson-Haddad (Newark: University of Delaware Press, 2007), pp. 99-113.
- Rosalind’s Breast," in Shakespeare Re-Dressed: Cross-Gender Casting in Contemporary Performance, ed. James
C. Bulman (Madison: Fairleigh Dickinson University Press, 2008), pp. 96-115.
- "The Play Within the Play Outside the Play," in Shakespearean Performance: New Studies, ed. Frank
Occhiogrosso (Madison: Fairleigh Dickinson University Press, 2008), pp. 129-146.
- "Two Cheers for the Intentional Fallacy: Intention,
Theatre Practice, and Performance History," 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).
- "Sense/Memory/Sense-Memory: Reading Narratives of Shakespearean Rehearsals," forthcoming in Shakespeare
Survey.
- "Miss Julie at the University of Pennsylvania: A Case Study in Shared Student-Faculty Theatre Research,"
forthcoming in New England Theatre Journal.
Reviews:
- "Shakespeare in Philadelphia," Shakespeare Quarterly 32 (1981),
200-202.
- "Shakespeare in Philadelphia," Shakespeare Quarterly 33 (1982),
224-225.
- George Rowell, Theatre in the Age of Irving, and J.P. Wearing, ed.
The London Stage, 1900-1909, Theatre Journal 35 (1983),
136-137.
- "Shakespeare in Philadelphia," Shakespeare Quarterly 34 (1983),
109-110.
- Philadelphia Festival Theatre for New Plays, Theatre Journal 35
(1983) 556-558.
- J.L. Styan, Max Reinhardt, Comparative Drama 17 (1983) 386-
387.
- Elmer W. Salenius, Harley Granville-Barker, Comparative
Drama 18 (1984), 190-191.
- John MacNicholas, ed., Twentieth Century American Dramatists
(Dictionary of Literary Biography v. 7), Modern Language Review
79 (1984), 694-695.
- Dennis Bartholomeusz, The Winter's Tale in Performance,
Comparative Drama 18 (1984), 285-287.
- A.D. Nutall, A New Mimesis, Theatre Journal 36 (1984), 557-
559.
- Rinda F. Lundstrom, William Poel's Hamlets: The Director as
Critic,
Theatre Journal 37 (1985), 388-390.
- Allan Wade, The London Theatre 1900-1914, Nineteenth Century
Theatre Research 13 (1985), 106-108.
- Philip Highfill, ed., Shakespeare's Craft, Theatre Studies
31/32 (1984-85/1985-86), 114-116.
- Margot Peters, Mrs. Pat: The Life of Mrs. Patrick Campbell,
Theatre Survey 26 (1985), 207-209.
- James Thomas, The Art of the Actor-Manager: Wilson Barrett and the
Victorian Theatre, Theatre Survey 26 (1985), 210-212.
- Ann Marie Koller, The Theatre Duke: Georg II of Saxe-Meiningen and
German Stage, Ibsen News and Comment.
- Donald Mullin, ed., Victorian Actors and Actresses in Review, J.P.
Wearing, ed., The London Stage, 1910-1919, and J.P. Wearing, ed.,
The
London Stage, 1920-1929, Theatre Survey 28 (1987), 93-96.
- Dennis Kennedy, Granville Barker and the Dream of Theatre,
Theatre Journal 38 (1986), 505-507.
- Gary Taylor, To Analyze Delight: A Hedonist Criticism of
Shakespeare, South Atlantic Review 52 (1987), 102-104.
- Thomas Postlewait, William Archer on Ibsen, and Prophet of the
New Drama, Theatre Research International 12 (1987), 174-177.
- Joseph R. Roach, The Player's Passion, Theatre Research
International 13 (1988), 175-177.
- Jonathan Bate, Shakespeare and the English Romantic Imagination,
Richard Allen Cave, ed., The Romantic Theatre: An International
Symposium, Keats-Shelley Journal 37 (1988), 206-209.
- Paul Schlicke, Dickens and Popular Entertainment, Dickens
Quarterly 5 (1988), 195-197.
- Sidney Homan, Shakespeare's Theater of Presence: Language, Spectacle,
and the Audience, Theatre Research International 14 (1989), 194-
195.
- Susan Carlson, Women of Grace: James's Plays and the Comedy of
Manners, Theatre Research International 14 (1989) 203-205.
- Charles H. Shattuck, Shakespeare on the American Stage, Volume 2:
From
Booth and Barrett to Sothern and Marlowe, Essays in Theatre 7
(1988), 83-85.
- J.S. Bratton, ed., King Lear, Julie Hankey, ed., Othello,
Jill L. Levenson, Shakespeare in Performance: Romeo and Juliet,
Theatre Survey 28 (1987), 119-122 .
- Review of Hamlet, People's Light and Theatre Company,
Shakespeare Bulletin 6 (March/April 1988), 14.
- Review of Julius Caesar, Philadelphia Drama Guild, Shakespeare
Bulletin.
- John Stokes, Michael R. Booth, and Susan Basnett, Bernhardt, Terry,
Duse: The Actress in Her Time, English Literature in Transition,
1880-
1920 32 (1989), 355-357.
- Review of The Winter's Tale, ACTER, Shakespeare
Bulletin 8
(Winter, 1990), 27.
- Review of As You like It, ACTER, Shakespeare Bulletin.
- Review of Shakespeare productions in Philadelphia, 1991, Shakespeare
Bulletin.
- James P. Lusardi and June Schlueter, Reading Shakespeare in
Performance: King Lear, Shakespeare on Film and Video Newletter.
- Irvin Leigh Matus, Shakespeare: the Living Record, Theatre
Research International 17 (1992), 160.
- Review of The Tempest, ACTER, Shakespeare Bulletin (v. 11,
no. 3), 26-27.
- Joel H. Kaplan and Sheila Stowell, Theatre and Fashion: Oscar
Wilde to
the Suffragettes, Theatre Survey 36 (1995), 120-122.
- Attilio Favorini, Voicings: Ten Plays from the Documentary
Theatre, Theatre Survey 37 (1996), 143-146.
- J. Ellen Gainor, ed., Imperialism and Theatre: Essays on World
Theatre, Drama And Performance, and David Mayer, ed., Playing Out
The Empire: Ben-Hur and other Toga Plays and Films, 1883-1908,
Theatre Survey 37 (1996), 149-152.
- Alan C. Dessen, Recovering Shakespeare's Theatrical
Vocabulary, American Notes and Queries 11 (1998) 43-46.
- Marvin Rosenberg, The Masks of Hamlet, Shakespeare Bulletin.
(v. 14. no. 4) 41.
- Barbara Hodgdon, Henry IV, Part Two
(Shakespeare in
Performance), Shakespeare Bulletin (v. 14, no. 4) 44-45.
- W. B. Worthen, Shakespeare and the Authority of Performance,
forthcoming
in Shakespeare Studies.
- Gary Jay Williams. Our Moonlight Revels: A Midsummer Night's
Dream in
the Theatre, and Trevor R. Griffiths, ed., M,A Midsummer
Night's
Dream (Shakespeare in Production),
Shakespeare
Quarterly 50 (1999), 91-94.
- Peter Holland, English Shakespeares: Shakespeare on the English Stage
in the 1990s, Essays in Theatre/Études
Thêátrale 17 (1999), 180-183.
- Richard Foulkes, Church and Stage in Victorian England, and
Richard W.
Schoch, Shakespeare's Victorian Stage: Performing History in the
Theatre of Charles Kean, Theatre Survey 40:1 (1999) 113-116.
- Kerry Powell, Women and Victorian Theatre, and Gail Marshall, Actresses on the Victorian Stage: Feminine
Performance and
the Galatea Myth, Theatre Survey 40:2 (1999), 88-92
- James L. Harner, ed., The World Shakespeare Bibliography, 1980-1996, Theatre Survey 42:2 (2001), 223-224.
- Tracy C. Davis, The Economics of the British Stage, 1800-1914, Theatre Survey 43:1 (2002), 91-94.
- Alan C. Dessen, Rescripting Shakespeare: The Text, the Director, and Modern Productions, Shakespeare
Quarterly 55 (2004), 77-80.
- Roslyn Lander Knutson, Playing Companies and Commerce in Shakespeare's Time, and Steven Adler, Rough
Magic: Making Theatre at the Royal Shakespeare Company, Theatre Survey 44:1 (2003), 142-145.
- Richard W. Schoch, Not Shakespeare: Bardolatry and Burlesque in the Nineteenth Century, Theatre
Survey 44:1 (2003), 148-150.
- Stanley Wells and Sarah Stanton, eds., The Cambridge Companion to Shakespeare on Stage, Theatre
Survey 44:2 (2003), 313-315.
- Gillian Day, Shakespeare at Stratford: King Richard III; Miriam Gilbert, Shakespeare at Stratford: The
Merchant of Venice; Patricia E. Tatspaugh, Shakespeare at Stratford: The Winter's Tale, Theatre
Survey 45 (2004), 155-158.
- W. B. Worthen, Shakespeare and the Force of Modern Performance, Theatre Survey 45 (2004), 305-307.
- Adrian Poole, Shakespeare and the Victorians; Gail Marshall and Adrian Poole, eds., Victorian
Shakespeare, Volume I: Theatre, Drama and Performance, forthcoming in Nineteenth Century Theatre and Film.
- Virginia Mason Vaughan and Alden T. Vaughan, eds., Shakespeare in American Life; Frances Teague,
Shakespeare and the
American Popular Stage; Jacob Gordin, The Jewish King Lear: A Comedy in America, translated by Ruth Gay,
American Literary History 21 (2009), 316-323.
Miscellaneous
- Contribution to Marvin Rosenberg, "Hamlet in the Theatre,"
Hamlet Studies 5, p. 93.
- Five entries in Shakespeare Around the Globe: A Guide to Notable
Postwar Revivals, ed. Samuel L. Leiter (Westport: Greenwood Press, 1986),
pp. 13-14, 442-444, 446-447, 576-577, 586-587.
- 23 entires in The Shakespeare Encyclopedia, ed. Patricia Parker, forthcoming from Greenwood Press.
Journalism:
- Theatre Critic for Philadelphia City Paper, 1986-present.
- Guest theatre critic, Philadelphia Inquirer and American
Theatre.
- Several reviews of Shakespeare productions have been reprinted in
Shakespeare Bulletin.
- 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.
Papers:
- "Shakespeare in Performance and the Study of Theatre History," NEH
Symposium on Shakespeare in Performance, University of Illinois, 1977.
- "The 1909 Haymarket Production of King Lear," Ohio State
University
Theatre Institute Conference on Shakespeare on Stage, 1980.
- "Shakespeare on Broadway, 1930-1980," American Society for Theatre
Research Annual Meeting, New York, 1981.
- "Shakespeare Production, Society and Culture," seminar paper, Shakespeare
Association of America Conference, Minneapolis, 1982.
- "The Actor-Manager as Metaphor: Shakespearean Acting and the Art of Self-
Presentation," seminar paper, Shakespeare Association of America Conference,
Cambridge, 1984.
- "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).
- "The Play-Doctor as Director: Joseph Papp Directs Henry V, 1976,"
seminar paper, Shakespeare Association of America Conference, Nashville,
1985.
- 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").
- "Mr. Wopsle's Successors," Dramatic Dickens Symposium, University of
Pennsylvania, 1986.
- "Edwardian Acting and Self-Portraiture," Symposium on Icon~ography
and the
Theatre, in honor of the retirement of Kalman A. Burnim, Tufts University,
1987.
- "Svengali's Portrait, or, Edwardian Shakespeare Reanimated," University
of Pennsylvania Graduate English Association annual Collation, 1987. (Other
versions: University of Pittsburgh, 1988).
- "Shakespeare, Ideology, and Performance: The Case of a Radical
Right-Wing
Hamlet," seminar paper, Shakespeare Association of America Conference,
Boston, 1988. (Other versions: University of California, Santa Cruz, 1990).
- Chair, seminar on "Shakespeare and the American Actor," Shakespeare
Association of America Conference, Austin, 1989.
- "Male Jekyll, Female Hyde: Victorian Acting Theory, Gender,and the
Divided Self," English Department, University of Washington, 1989.
- "Edwin Forrest: Acting and the Image of the New Republic," Historical
Society of Pennsylvania, 1989.
- "Theatre History, Theatre Historiography, and Theatre Studies: ASTR's
Response to New Methodologies," ACLS Conference of Administrative Officers,
Wye Woods, 1989.
- Respondent, seminar on "Acting Funny," Shakespeare Association of America
Conference, Philadelphia, 1990.
- Chair, seminar on "Theatre from 1660-1945," Shakespeare Institute
Conference, Stratford-upon-Avon, 1990.
- "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.
- "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).
- "Acting in Utopia: The Theatrical Revolution of 1923 in `The Theatrical
Revolution' of 1893," American Society for Theatre Research annual meeting,
Seattle, 1991.
- Panelist, Dramaturgy sub-group, East Central Theatre Conference,
Baltimore, 1992
- Respondent, seminar on "After the Shakespeare Revolution," Shakespeare
Association of America Conference, Kansas City, 1992.
- "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).
- "Reading the Performance: Production Styles and Aesthetics," Colloquium
on "Shakespeare in Performance, Then and Now," Farleigh Dickenson University,
1992.
- Panelist, Dramaturgy sub-group, East Central Theatre Conference,
Philadelphia, 1993.
- "Mapping Actorly Reading: A Retrospective Baedeker," seminar on
"Actorly
Reading," Shakespeare Association of America, Atlanta, 1993.
- "Desperate
Measures: Politics and the Process of
Performance,"
New
Jersey
Shakespeare Festival Colloquium, 1993.
- "Statues: Mary Anderson, Shakespeare, and Statuesque Acting,"
seminar on
"Nineteenth-Century Shakespeare," Shakespeare Association of America
Conference, Albuquerque, 1994.
- Participant, seminar on "Living in the Gap," Shakespeare Association of
America Conference, Chicago, 1995.
- "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.
- Oscar Wilde and Society Drama," seminar for teachers, Delaware Theatre
Company, 1995.
- Chair, panel on "The Theatre of Ideas," with Tom Stoppard and members of
the Philadelphia Theatre Community, Steinberg Symposium, University
of Pennyslvania, 1996.
- Co-Chair, seminar on "Shakespeare and the Twentieth-Century Director:
"Populist" Shakespeare, International Shakespeare Assocaition
Conference, Los Angeles, 1996.
- "When Paradigms Change: Writing about the Actor," seminar on
"Writing about Performance," Shakespeare Association of America
Conference, Washington, DC, 1997.
- "Beside Oneself: Self-Address, Pronouns and Personation in
Shakespearean Representations of Character," seminar on "Addressing
the Envelope," Shakespeare Association of America, Cleveland, 1998.
- "'Wounds Invisible': Personation and Empathy in As You Like It," Seminar on "'A lover or a tyrant?': The Early
Modern Subject
as Actor," Shakespeare Association of America, San Francisco, 1999.
- "'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.
- "Learning to love Fallacious Characterology,"" Columbia Shakespeare Seminar, 2001.
- Chair, Seminar on "Personation," Shakespeare Association of America, Miami, 2001.
- "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.)
- "Confidence Men: The Dramaturg and the Theatre Historian," Seminar on
- "Documenting Performance/Performing the
Document," American Society for Theatre Research, Durham, 2003.
- "Rosalind's Breast," Seminar on "Cross-Dressing in Contemporary Performances of Shakespeare," Shakespeare
Association of America, New Orleans, 2004. (See Publications: Articles)
- "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)
- "Frames: The Play Within the Play Outside the Play," conference on Shakespeare in Performance II, Drew University,
2005. (See Publications: Articles)
- "The Spear-Carrier under the Platform, or, the Perils of Documentation," Shakespeare Association of America,
Philadelphia, 2006.
- "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.
- "Shakespeare, the Reviewer, and the Theatre Historian, Revisited," seminar on "Performance Criticism: The State of
the Art," Shakespeare Association of America, San Diego, 2007.
- "Echo Chambers," Shakespearean Performance Research Group, American Society for Theatre Research, Phoenix, 2007.
- "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.
- "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.
- "Performance without Performativity," seminar on "Shakespeare and Performance Theory," Shakespeare Association of
America conference, Washington, DC, 2009.
Directorial Experience: Productions
- Pericles, Shakespeare, Theatre Division, Columbia University,
1978.
- The Devil's Disciple, Shaw, Princeton Summer Theatre, 1980.
- Not I and Rockaby, Beckett, Intuitons, University of
Pennsylvania, 198l.
- As You Like It, Shakespeare, Penn Players, University of
Pennsylvania, 1982.
- Electra, Euripides,
Theatre Arts Program, University of Pennsylvania, 1983.
- Richard II, Shakespeare, Theatre Arts
Program, University of
Pennsylvania, 1989. Reviewed in Shakespeare Bulletin 7 no. 3
(May/June
1989) 15-16.
- Playing with Peter (incorporating the
text of Peter Pan by
J.M. Barrie), Theatre Arts Program, University of Pennsylvania, 1990.
- The Duchess of Malfi, Webster, Theatre
Arts Program, University of
Pennsylvania, 1992. Reviewed in Shakespeare Bulletin 12 no. 2 (Spring
1994) 29-30, along with "Space, Signs, and Voyeurism in The Duchess of
Malfi: An Interview with Cary M. Mazer," by Jean Peterson, pp. 28-29.
- Miss Julie, August Strindberg, Theatre
Arts Program, University of
Pennsylvania, 1995.
- A Dream
Play, after the play by August Strindberg,
Theatre Arts Program, University of Pennsylvania, 1996 (also at the 1996
Edinburgh Fringe Festival).
- The
Two Gentlemen of Verona, William Shakespeare, Theatre Arts
Program, University of Pennsylvania, 1999. Analyzed in Sarah Werner, Shakespeare and Feminist Performance:
Ideology on
Stage
(London: Routledge, 2001), pp. 96-104.
- Old Times, by Harold Pinter, Theatre Arts
Program, University of Pennsylvania, 2000.
- Major Barbara, G. Bernard
Shaw, Theatre Arts Program, University of Pennsylvania, 2003.
Directorial Experience: semi-staged script-in-hand readings
- The Spanish Tragedy, Thomas Kyd, The Red
Heel Theatre, Philadelphia, 1993.
- The Good Person of Szechwan, Bertolt Brecht, Theatre Arts Program, University of Pennsylvania, 1996.
- Spring Awakening, Frank Wedekind, Theatre Arts Program, University of Pennsylvania, 1999.
- Engaged, William S. Gilbert, Theatre Arts Program, University of Pennsylvania, 2008.
Dramaturgy:
- The Importance of Being Earnest,
directed by Michael McCallion, People's Light & Theatre Company, 1993.
- Misalliance, directed by Abigail Adams,
People's Light & Theatre Company, 1994.
- Heartbreak House, directed by Abigail Adams, People's
Light &
Theatre Company, 1998.
- The Merchant of Venice, directed by James J. Christy, People's Light & Theatre
Company, 2002.
Courses Taught
Columbia University:
- The Theatre of Shakespeare and his Contemporaries (scene study).
University of Pennsylvania:
- Script analysis (on freshman, upperclass, and graduate levels)
- Theatre History
- Modern Drama: Ibsen to WWI
- Modern Drama: WWI to the Present
- Twentieth Century Theatrical Theory and Dramaturgy
- Shakespeare
- Shakespeare in Performance
- Shakespeare Performance History
- Shaw and his Contemporaries (graduate)
- Tudor and Stuart Drama
- Nineteenth Century Drama and Theatre (graduate, co-taught with Nina
Auerbach)
- London: The City and the Theatre (London)
- The London Theatre Experience (London)
- Shakespeare: Methods of Stage-Centered Analysis (graduate)
- Ibsen and the English Ibsenites (graduate)
- Shakespeare: Performance History, 1660-Present (graduate)
- Introduction to Theatre
- Topics in Theatre History: Romanticism, Melodrama, and Realism
- Topics in Theatre History: Commedia dell'Arte and its Legacy
- Topics in Theatre History: American Theatre
- Topics in Theatre History: Baroque and Neoclassical
- Topics in Theatre History: Victorian Theatre
- Topics in Theatre History: "Realisms"
- Creating, Managing, and Presenting the Arts (co-taught with Larry
Robbins, joingtly offered with the Wharton School)
- Modern Scholarship, Contemporary Performance, Early-Modern Scripts (graduate)
- Dramaturgy
- Theatre Criticism
- Topics in Theatre History: Comparative Cross-Dressing
- Topics in Theatre History: Popular Comic Theatres
- Acting Shakespeare
- Topics in Theatre History: Theatre in Times of Social Crisis.
- Theories of Theatre
- Shakespeare: Text, Script, Performance, Performance History (graduate)
- Topics in Theatre History: American Theatre Left and Right: Performance, Culture, and Politics in the 1930s,
50s, and 80s
- Theatre, History, Culture III: Modernism to Post-Modernism
- Directing.
- Topics in Theatre History: Blackface, Yellowface, Redface, Jewface: Theatrical Representations of "Others."
- Additional teaching fields: Contemporary Drama and Theatre, Writing about Performance.