Shakespeare s Double Plays: Dramatic Economy on the Early Modern Stage. Cambridge University Press, ,000 words.

Transcription

1 Dartmouth College English Department, 6032 Sanborn House, Hanover, NH (home); (office) EDUCATION Harvard University, Cambridge, MA Ph.D. in English and American Literature and Language, May 2010 M.A. in English and American Literature and Language, 2008 University of California at Berkeley, Berkeley, CA A.B. with Highest Honors (summa cum laude), English Literature, 1998 EMPLOYMENT Assistant Professor of English, Dartmouth College (2010-Present) Visiting Senior Lecturer, King s College London ( ) Instructor, Writing Program, Kennedy School of Government ( ) PUBLICATIONS MONOGRAPHS Shakespeare s Double Plays: Dramatic Economy on the Early Modern Stage. Cambridge University Press, ,000 words. Shakespeare vs. the Audience, monograph in preparation. EDITIONS AND EDITED COLLECTIONS Performance Notes (40) for The Norton Shakespeare (Third Edition), ed. Stephen Greenblatt (New York: Norton), Performance-oriented introductions for 40 plays in multiple Norton print and online editions (approx. 15,000 words), Performance Comments (100) for The Norton Shakespeare (Third Edition), ed. Stephen Greenblatt (New York: Norton), brief essays on performance choices and cruxes for Norton editions. Bridge notes in printed text linked to full discussions online (approx. 40,000 words), Shakespeare s Things, co-edited (with Lawrence Switzky from the University of Toronto) collection of essays about Shakespeare, objects, and new materialism. Under contract with Routledge. Expected in Much Ado About Nothing, A Norton Critical Edition. Under contract with W.W. Norton. Projected completion date in July

2 REFEREED ESSAYS AND BOOK CHAPTERS Suspense, Syntax, and Early Modern Performance, The Oxford Handbook of Renaissance Poetry, ed. Jason Scott-Warren and Andrew Zurcher, (Oxford: Oxford UP). Solicited for 2019 publication. Shakespeare s Strange Conventionality, in Staged Normality in Shakespeare s England, ed. Rory Loughnane and Edel Semple, (London: Palgrave), forthcoming Shakespeare Refinished: The Audience as Nahum Tate, Litteraria Pragensia: Studies in Literature and Culture, special issue edited by Michael Neill and Schalkwyk, vol. 26, no. 52 (2016) King Lear, Heartbreak House, and the Dynamics of Inertia for SHAW: The Annual of Bernard Shaw Studies, 35.1, Spring, What Passed wasn t Prologued: False Advertising in Romeo and Juliet, in Reading What s There: Essays on Shakespeare, ed. Michael Collins, (Newark: University of Delaware Press), Dwelling in doubtful joy : Macbeth and the Aesthetics of Disappointment, Macbeth: State of Play, ed. Ann Thompson (London: Methuen), Is t real that I see? : Staged Realism and the Paradox of Shakespeare s Audience, Shakespeare Bulletin, Vol. 31.4, Winter Mirrors and Monarchs: Suggestive Presences and Shakespeare s Cast Size, in Shakespeare Embodied: Page, Stage, and Classroom in Shakespeare and his Contemporaries, ed. Kathryn Moncrief, Kate McPherson and Sarah Enloe (New Jersey: Fairleigh Dickinson University Press), Having it Both Ways in Juliet s Gallop apace Speech in Shakespeare Up Close, ed. Russ McDonald, Nicholas Nace and Travis Williams for Arden Shakespeare (London: Methuen), Letting Unpleasantness Lie: Counter-intuition and Character in The Merchant of Venice, in Shakespeare s Sense of Character On the Page and From the Stage, ed. Yu Jin Ko and Michael Shurgot, (Aldershot: Ashgate), THEATER REVIEWS Richard III and The Winter s Tale, Shakespeare Bulletin, 29.1, Spring 2011, pp INVITED PRESENTATIONS AND CONFERENCE PAPERS Richard III, South Dakota Shakespeare Festival, invited by the English department at the University of South Dakota, June

3 Trading Places in Othello, Shakespeare Association of America, Los Angeles, CA, March 2018 Maids of Exchange: Heywood and the Man-Woman Monster, Blackfriars Conference at the American Shakespeare Center, Staunton, VA, October 2017 Guilty and not guilty : Bertram, Helena, and Shakespearean Stereopsis, Shakespeare Association of America, Atlanta, GA, April 2017 Shakespeare vs. The Audience, Massachusetts Center for Renaissance Studies, October 2016 King Lear, or What You Won t, World Shakespeare Congress, Stratford-upon-Avon and London, UK, August 2016 The Winter s Tale, South Dakota Shakespeare Festival, invited by the English department at the University of South Dakota, June 2016 Shakespeare s Cues for Distributing Parts, Renaissance Society of America, Boston, MA, April 2016 Shakespeare as Prop Master, Annual meeting of the American Comparative Literature Association, Cambridge, MA, March 2016 Shakespearean Metadrama 2.0, London Shakespeare Seminar, November 2015 Macbeth, South Dakota Shakespeare Festival, invited by the English department at the University of South Dakota, June 2015 Shakespeare s Art of Misdirection, Annual Meeting of the Shakespeare Association of America, Vancouver, ON, April 2015 Mining the Gaps, Symposium on Teaching Shakespeare at Dartmouth College, October Pericles Internal Cues for the Actor, Shakespeare Association of America, St. Louis, MO, April 2014 King Lear Refinished: Shavian Endurance and Heartbreak House, Modern Language Association, Chicago, IL, January 2014 Dramas of Disclosing: Intrusions of the Actor and the Stage, Staging Workshop at The Blackfriars Conference at the American Shakespeare Center, Staunton, VA, October 2013 They ll always have Paris: Stratford Directors and 1.5 of Romeo and Juliet, Annual Meeting of the Shakespeare Association of America, Toronto, ON, March 2013 Mollifying Giants: Reconsidering the Ages and Sizes of Shakespeare s Women, Annual Meeting of the Shakespeare Association of America, Boston MA, April

4 How Many Children had Banquo?, The Blackfriars Conference at the American Shakespeare Center, Staunton, VA, October 2011 Insidious Adaptation and The Merchant of Venice, for the International Shakespeare Association s World Congress, Prague, CZ, July 2011 Dwelling in doubtful joy : Macbeth and the Aesthetics of Disappointment, Annual Meeting of the Shakespeare Association of America, Seattle WA, April 2011 Is t real that I see : Emotional Realism and the Paradox of Shakespeare s Audience, Annual Meeting of the Shakespeare Association of America, Chicago IL, April 2010 Shakespeare s Plays without the Plays, Washington University of St. Louis, St. Louis MO, January 2010 Improbable Fictions for the annual meeting of the American Society for Theatre Research, San Juan PR, November 2009 Like doth quit like : Barnadine, Ragozine and Shakespeare s Double-Dealing, for the Blackfriars Conference at the American Shakespeare Center, Staunton VA, October 2009 Unions in Partition and Hovering Temporizers, Harvard Renaissance Colloquium, Cambridge MA, October 2009 Nearly King Lear: Timon of Athens and False Starts, Harvard University, November 2006 Bare Forked Animals: Versatility and Verisimilitude in Shakespeare s Actors, The Shakespeare Institute, Stratford-upon-Avon, June 2006 Men were deceivers ever : Onstage Audiences in Much Ado About Nothing Harvard University, March 2005 PANELS AND SEMINARS ORGANIZED Absence and Omission in Shakespeare for the Annual Meeting of the Shakespeare Association of America, New Orleans, LA. With Darlene Farabee (University of South Dakota), March Shakespeare s Things for the American Comparative Literature Association s Annual Conference, Cambridge, MA. With Lawrence Switzky (University of Toronto), March 2016 THEATER DIRECTING & DRAMATURGY The Comedy of Errors (Director, w/ Kim Bent) Lost Nation Theater, Montpelier VT, Fall

5 The Crucible (Director) Lost Nation Theater, Montpelier, VT, Fall 2013 Hamlet (Asst. Director; Dramaturg) Lost Nation Theater, Montpelier, VT, Fall The Merchant of Venice (Director) Dartmouth College, Hanover NH, Winter 2012 Pericles (Director) Dartmouth College, Hanover NH, Winter 2012 Henry V (Dramaturg) Blackfriars Theater at the American Shakespeare Center, Staunton VA, Summer 2011 Henry IV, Part 2 (Asst. Director, w/ Ralph Cohen), Blackfriar s Theater at the American Shakespeare Center, Staunton VA, Fall Hamlet (Dramaturg) New College Theater, Harvard University, Spring 2009 Comenius Project (Director), Cambridge MA ( ) Directed adapted versions of Henry V and Macbeth. Also directed and performed scenes from Julius Caesar, King Lear, Hamlet, The Tempest and several others. Macbeth (Director) Berkeley, CA, Fall 2007 Guest director at the University of California. Reviewed in Shakespeare Bulletin, 30.1, Spring 2012, pp Othello (Director) Cambridge MA, Spring 2006 Guest director for Hyperion Shakespeare Company. All s Well that Ends Well (Director) Harvard University, Fall 2003 Twelfth Night (Director) Harvard University, Spring 2003 The Winter s Tale (Director) Harvard University, Spring 2002 PUBLIC ENGAGEMENT PUBLICATIONS Understanding Shakespeare, The New Criterion, 34.8, April 2016, pp In Today s Most Popular Shows, Shakespeare s Iconic Characters Live On, The Conversation, 21 April (Republished as Shakespearean Characters in Mass Media Show Reach of Bard s Genius, Newsweek, 22 April 2016; as How Shakespeare Helped Create Today s Favorite Troubled TV Characters, Mashable, 22 April 2016; as Why We Call Great TV Shakespearean, Houston Chronicle, 21 April 2016; among several others.) 5

6 LECTURES AND PRESENTATIONS Watch on the Rhine, pre-play talk sponsored by the Dartmouth Alumni Association at the Guthrie Theatre, Minneapolis, MN, February 2018 Hamlet as Tragicomedy, pre-play talk sponsored by the Dartmouth Alumni Association before Bedlam Theater Company s production of Hamlet, McCarter Theater, Princeton, NJ, February 2017 The Audience as Othello, pre-play talk for New York Theater Workshop & Dartmouth Alumni Association, New York, NY, December 2016 Performing The Tempest, St. Bernard s School, New York, NY, November 2016 Verdi s Macbeth, and Shakespeare s, Raylynmor Opera, Dublin, NH, October 2016 Shakespeare as TV writer; or, The Uncommon Likeness of Cleopatra and Mary Crawley, Dartmouth Alumni Association, Oxford, UK, August 2016 Shakespeare in Stratford, Dartmouth Alumni Association, Stratford-upon-Avon, UK, August 2016 Shakespeare 400, Dartmouth Alumni Association, Hanover, NH, June 2016 The Merchant of Venice, Atlanta Shakespeare Tavern, June 2016 Enduring Shakespeare, Dublin School, Dublin NH, May 2016 Blithe Spirit, Athena Lecture for Northern Stage, White River Junction, VT. February 2015 The Two Gentleman of Verona, The Comedy of Errors, and Richard III. Three pre-show talks for the Dartmouth Alumni Association at the Oregon Shakespeare Festival, Ashland, OR, September 2014 Henry IV, part 1, The Merry Wives of Windsor, and Othello. Three pre-show talks for the Dartmouth Alumni Association at the American Shakespeare Center, Staunton, VA, April 2014 GRANTS AND AWARDS Dean of Humanities Research Grant, 2017 Burke Research Award, Dartmouth College ( ) Dickey Center Travel Grant, 2012 Folger Grant for Dissertation Writers, Harvard University Dissertation Completion Fellowship, MLA Travel Grant, 2009 Two-time recipient of Harvard University Certificate of Distinction in Teaching 2006, 2007 Four-time recipient of performance grants from Harvard s Office for the Arts,

7 Annie Dexter Summer Fellowship, 2003 Harvard University Graduate Fellowship, Mark Schorer Prize/Departmental Citation (outstanding undergraduate), Berkeley, 1998 Phi Beta Kappa, 1998 ACADEMIC SERVICE Convener, Honors Seminar in English , , , Committee on Departmental Curriculum ( , ) Committee on Intellectual and Social Life ( , ) Committee on Hiring ( , ) Committee on Foreign Study Programs ( ) Feinstein Prize Committee (2011, 2016) Foreign Study Program Leader (2015) Graduate School Adviser in English, 2012 Frost / Dodd Play Festival Committee 2011 Council on Libraries, (Chair, Fall 2013) THESIS SUPERVISION AND MENTORING Hannah Mazonson (thesis director) Alison Falzetta (thesis co-director) Laura Neill (thesis director) Luke Peters (thesis 2 nd reader) Yi He (presidential scholar) Carene Mekertichyan (presidential scholar) Benjamin Robinson (presidential scholar) Laura Neill (presidential scholar) TEACHING EXPERIENCE Courses Taught Dartmouth College War and Peace (English 7) Spring 2016 London (English 92) Shakespeare I, Fall 2010, 2013, 2016, 2017; Summer 2011, 2012; Spring 2015, 2016 David Simon s The Wire, Spring 2015, Fall 2017 British Modern Drama, Winter 2011; Fall 2012, 2014 Writing about Art and Literature (Writing 5/English 7), Winter 2011; Fall 2012, 2014 Renaissance Verse (English 12, 60), Summer 2011, 2012 Shakespeare in the Theater, Winter 2012 Harvard University 7

8 Hypocrisy and Shakespeare s Plotting, Spring 2005 Nineteenth-Century Comic Writing, Fall 2004 Renaissance Tragedy and its Audiences, Fall 2004 RELATED EMPLOYMENT Senior Resident Tutor, Quincy House, Harvard University (Fall 2005-Summer 2008) Coordinated academic advising for 150 undergraduates, overseeing 20 graduate student advisers. Responsible for training advisers, tracking graduation progress, and organizing events. Tutor in Drama and English, Quincy House, Harvard University (Fall 2002-Fall 2008) Managed two performance spaces; advised undergraduates on theater projects; provided support and advice to students in English and Dramatic Arts. AREAS OF SCHOLARLY INTEREST Shakespeare Dramatic Literature Sixteenth- and Seventeenth-Century English literature Theory and Performance Theater Directing Theater History Aesthetics PROFESSIONAL AFFILIATIONS Renaissance Association of America Shakespeare Association of America Modern Language Association American Society for Theater Research 8

9 9