Book Project (In Progress)
Imaginative Configurations: Walter Benjamin and Cultural Performance
My book will establish Walter Benjamin as a significant performance theorist who drew attention to the exploration of site dramaturgy: the negotiation between street layouts, architectural form, the meaning of places, and the scenography of streets, buildings, blocks, and neighborhoods.
Peer-Reviewed Publications in Books and Journals
“Performance Illuminations: George Tabori and the Bildraum of the Shoah.” Martin Kagel and David Saltz, eds. Taboos that must be Broken: Holocaust Theatre and the Legacy of George Tabori. Ann Arbor: University of Michigan Press, forthcoming 2018.
“Imaginative Configurations: Performance Space in the Global City.” Andrew Filmer and Juliet Rufford, eds. Performing Architectures. London: Bloomsbury; forthcoming 2017.
“Opera, Exhibition Space, and the Public Imagination.” Suzanne Aspden, ed. The Cultural Geography of Opera. Chicago: University of Chicago Press; forthcoming 2017.
“Karl-Ernst Herrmann: Unfolding Shakespeare’s Space.” John Russell Brown, ed. The Routledge Companion to Designers’ Shakespeare. London: Routledge, 2016: 54-80.
“Performing in the Foggy Mist: Marlene Dietrich’s Image Transfers.” European Drama and Performance Studies (Special Issue: Consuming the Actress) 5 (2015): 179-203.
Williams, Simon, ed. Cambridge World Encyclopedia of Stage Actors and Acting: Cambridge: Cambridge University Press, 2014.
Biographical entries for Ernst Busch, Marlene Dietrich, Gertrud Eysoldt, Therese Ghiese, Gustav Gründgens, Marianne Hoppe, Angelika Hurwicz, Emil Jannings, Inge Keller, Werner Krauss, Bernhard Minetti, Ulrich Mühe, Agnes Sorma, Karl Valentin, Paul Wegener, Helene Weigel.
“Spiel-Raum in Graf Öderland and Don Juan.” Olaf Berwald, ed. A Companion to the Works of Max Frisch. Rochester: Camden House Press, 2013: 33-55.
“Staging a Vanished Community: Daniel Libeskind Scenography in the Berlin Jewish Museum.” D.J. Hopkins et al., eds. Performance and the City. New York: Palgrave MacMillan, 2009: 222-239.
“The Royal Robe with Folds: Translatability in Schiller’s The Robbers. The Mercurian 2.2 (2009): 254-264.
“Contemporary German Scenography: Surging Images and Spaces for Action.” Contemporary Theatre Review 18.1 (2008): 6-19.
“Dimiter Gotscheff: The Fine Art of Political Spectacle.” TheatreForum 32 (2008): 3-12.
“Michael Thalheimer: Seducing the Audience with Suggestive Images.” TheatreForum 30 (2007): 65-72.
“Scenography and Submedial Space: Frank Castorf’s ‘Final Destination America’ (2000) and ‘Forever Young’ (2003) at the Volksbühne Berlin.” Theatre Research International 32:1 (2007): 49-67.
“Frank Castorf’s Vision of America: The Pathology of Cultural Roles in a Mediatized Society.” Text and Presentation 2005 (2005): 212-222.
“Der Erzählende Raum.” Bühnentechnische Rundschau 1 (2003): 48-50.
“Die Meistersinger as Comedy: The Performative and Social Signification of Genre.” Vazsonyi, Nicholas, ed. Richard Wagner’s Die Meistersinger von Nürnberg. Rochester: State University of New York Press, 2002, 175-200.
“The Theatrical Image as a Site of Organizing Historical Experience.” Corrado Federici, ed. Image and Imagery. New York: Lang, 2002: 45-59.
“Strindberg’s A Dream Play: Postmodernist Visions on the Modern Stage.” Theatre Survey 40.2 (1999): 43-69.
“Intertextueller Bewusstseinsraum und Kulturelle Transformationen in George Taboris Goldberg-Variationen.” Hoeyng, Peter, ed. Verkörperte Geschichtsentwürfe: Taboris Theaterarbeit. Zürich: Francke,1998: 177-196.
“Spatial Consciousness and Theatrical Image: Strindberg’s Advent at the Deutsches Theater Berlin in 1919.” Kela Kvam, ed. Strindberg’s Post-Inferno Plays. Copenhagen: Munksgaard/Rosinante, 1993: 129-139.
“The Geometry of Culture: Urban Space and Theatre Space in Berlin before and after World War II.” Theatre Research International 16.1 (1991): 1-17.
“Thomas Ostermeier Die Ehe der Maria Braun,” Communications from the International Brecht Society 37 (2008): 66-69.
“Wallen/Stein’s Death: Searching for Wallenstein Under the Microscope.” Western European Stages 20:1 (Winter 2008) 4-8 and 87-88.
“Review of Robert Wilson’s Peer Gynt.“ Theatre Journal 58:4 (2006): 684-687.
“Theatertreffen Berlin 2004.” Theatre Journal 57.2 (2005):289-294.
“Scripting Multiple Conventions.” Western European Stages 16.3 (2004): 16-24.
“12. Internationale Schillertage Mannheim.” Theare Journal 56.1 (2004): 100-104.
“Theatertreffen Berlin 2001.” Western European Stages 13.3 (2001): 4-18.
“Theatertreffen Berlin 1999.”Theatre Journal 52.2 (2000): 266-269.
Selected Book Reviews
“Theatre is More Beautiful Than War: German Stage Directing in the Late Twentieth Century. By Marvin Carlson.” Theatre Research International 36.1 (2011): 85-6.
“Remembering and Imagining the Holocaust: The Chain of Memory. By Christopher Bigsby. Theatre Survey 50 (2009):166-168.
“Land/Scape/Theater.” Edited by Elinor Fuchs and Una Chaudhuri.” Theatre Survey 45.1 (2004): 118-120.
“Schauspielkunst/Schule des Theaters. By Ekkehard Schall.” Communications. A Journal of the International Brecht Society 28.1 (2003): 304-11.
“The Theatrical Event. By Wilmar Sauter.” Theatre Survey 43.1 (2002): 105-109.
“Space and Time in Epic Theatre. By Sarah Bryant-Bertail and Play is Play. By Peter Yang.” Communications. A Journal of theInternational Brecht Society 27 (2002):215-219.
“Staging the Holocaust. Edited by Claude Schumacher.” Theatre Survey 41.2 (2000): 141-147.
“The Theatre of Heiner Müller. By Jonathan Kalb and The Theatre of Robert Wilson. By Arthur Holmberg.” Theatre Survey 40.2 (1999): 112-116.
“Theater gegen das Vergessen. Edited by Hans-Peter Bayerdörfer.” Monatshefte 99.1 (1999): 164-165.
“Staging Fascism. By Jeffrey Schnapp and Fascism and Theatre. By Günter Berghaus.” Theatre Journal 49.2 (1997): 154-156.
Selected Program Essays
“Friedrich Schiller.” Asolo Playbill 2 (2012).
“Phaedra and Modernity.” Tableau 4 (2011).
“George Tabori and Jazz: A Musical Principle of Performance.” Tableau 3 (2001).
“Oedipus/Caligula: Existential Experience at the Crossroads.” Tableau 9 (2000).
“Arthur Miller’s All My Sons.” 7Stages Program 12 (1997).
“George Tabori: Laughter after Auschwitz.” 7Stages Program 2 (1996).
“Piano Plays: The Piano as Place for Gender Relations.” Studio Works Program 10 (1995).
“The Garden: Cultivated Nature and Naturalized Culture.” InSight 9.3 (1995): 6-8.
“Adapting the Oresteia.” InSight 9.2 (1995): 6-9.
“Roman Comedy, American Vaudeville, and Sondheim’s Forum.” InSight 9.1 (1994): 6-7.
“The Mikado: Victorian Satire in Oriental Guise.” InSight 8.1 (1993): 2-3.
“On Performing Goldoni.” InSight, 8.3 (1994): 6.
“Romeo and Juliet: A Note on Shakespeare’s Text.” InSight 8.2 (1994): 7.
Script Adaptations and Translations
Friedrich Schiller. The Robbers. Asolo Conservatory, February 2012.
William Shakespeare. Romeo and Juliet. New Jersey Shakespeare Theatre, October 2008.
(Favorably Reviewed New York Times, October 26, 2008.)
Euripides. The Trojan Women. Produced at Clarence Brown Theatre, Knoxville, October 2005.
George Tabori. The Brecht File. Produced at Clarence Brown Theatre, Knoxville, March, 2001.
George Tabori. My Mother’s Courage. Produced at 7 Stages, Atlanta, February 1996.
Aeschylus. The Oresteia. Produced at Classic TheaterWorks, Marietta, October 1995.
Georg Büchner. Woyzeck. Produced at Bloomington Playwrights Project, Bloomington, October 1989.
Selected Presentations at National and International Meetings
“Mapping Walter Benjamin’s Cultural Performance.” American Society for Theatre Research, Portland, Oregon, November 2015.
“Performance Illuminations.” Conference: “George Tabori and the Theatre of the Holocaust” (First International Conference on Tabori). University of Georgia, Athens, February 2015.
“Opera, Exhibition Space, and the Public Imagination.” Conference: “Operatic Geographies, Urban Identities.” Oxford University (UK), September 2014.
“Walter Benjamin’s Parisian Arcades and Strindberg’s Architectonics of Performance.” International Federation for Theatre Research, University of Warwick, July 2014.
“Wyly Theatre: How does the Skyscraper Perform in Dallas?” American Society for Theatre Research, Dallas, November 2013.
“Mendelsohn, Nouvel, and Koolhaas: Architectural Interventions in the Hyperreal City.” International Federation for Theatre Research, Barcelona, July 2013.
“The Location within the Image: Scenography as Critical Theory and Visual Practice.” International Federation for Theatre Research, Prague, July 2011.
“Image, Performance and the State of Exception.” International Federation for Theatre Research, Lisbon, July 2009.
“Scenography as Archive: The Appropriation of Industrial Sites and Realräume. American Society for Theatre Research, Boston, November 2008.
“Translation and Translatability.” Association for Theatre in Higher Education Conference, Denver, August 2008.
“Theatre as Historical Index of Cinema.” Contemporary Drama Conference, LA, March 2008.
“Seduction in the Hyperreal City: Rem Koolhaas’ Dallas Theater Center and Jean Nouvel’s Guthrie Theatre.” Contemporary Drama Conference, Los Angeles, April 2007.
“Political Performances of Schiller’s The Robbers.” Association for Theatre in Higher Education, New Orleans. August 2007.
“Staging a Lost/Vanished Community: Daniel Libeskind’s Jewish Museum in Berlin.” Comparative Drama Conference, Los Angeles, March 2006.
“George Tabori’s Cultural Memory. The Alien as Radical Force.” International Federation of Theatre Research, Washington, July 2005.
“Scenography and Submedial Space.” International Federation for Theatre Research, Amsterdam, May 2005.
“Frank Castorf’s Vision of America: The Pathology of Cultural Roles in a Mediatized Society.” Comparative Drama Conference, Los Angeles, March 2005.
“The Act of Seeing: The Designer-Dramaturg Relationship.” Association for Theatre in Higher Education Conference, Chicago, August 2001.
“The Dramaturgy of Parallel Space in Achim Freyer’s Stage Composition.” Association for Theatre in Higher Education Conference, Washington DC, August 2000.
“Walter Benjamin’s Image Space: Reading Visual Representation in Postmodern Performance.” American Society of Theatre Research Conference, Minneapolis, November1999.
“The Image of Vampirism in Elfriede Jelinek: The Return of Fin de Siécle Horror in Postmodern Aesthetic.” Mid-America Theatre Conference, Minneapolis, March 1999.
“Breaking with the Wagner Tradition: Jürgen Fehling’s Avant-garde Music Theatre and the Creation of a New Cultural Space.” American Society for Theatre Research, Washington DC, November 1998.
“Stage Adaptation as Cultural Negotiation: Creating a Performance Text for George Tabori.” Association for Theatre in Higher Education, San Antonio, August 1998.
“Rereading and Reconfiguration of Spatial Narratives: Heiner Müller’s Dramaturgy of Space.” Association for Theatre in Higher Education Conference, Chicago, August, 1997.
Professional Work, National and International Dramaturgy
The Whipping Man. By Matthew Lopez. Dir. John Sipes. Clarence Brown Theatre, Knoxville, February 2014.
Raisin in the Sun. By Lorraine Hansberry. Dir. Woodie King Jr. Clarence Brown Theatre, Knoxville, February 2013.
Tartuffe. By Molière. Dir: David Kennedy. Westport Country Playhouse, Westport, CT. July 2012.
The Robbers. By Friedrich Schiller. Dir: David Kennedy. Asolo Conservatory, Sarasota, FL. February 2012.
Buried Child. By Sam Shepard. Dir. Veronika Nowag-Jones. English Theatre, Berlin, March 2010.
The Triumph of Love. By Pierre Marivaux. Dir. David Kennedy. Clarence Brown Theatre, Knoxville, January 2009.
Danton’s Death. By Georg Büchner. Dir. David Kennedy. International Theatre, University of Rochester, Rochester, NY. October 2009.
The Prince of Homburg. By Heinrich von Kleist. Dir. David Kennedy, Clarence Brown Theatre, Workshop Presentation 2008.
Romeo and Juliet. By William Shakespeare. Dir. David Kennedy. New Jersey Shakespeare Theatre, Madison, NJ. October 2008.
Women of Troy. By Euripides. Dir. Veronika Nowag-Jones. Clarence Brown Theatre, Knoxville, October 2005.
Metamorphoses. By Mary Zimmerman. Dir. Joe Haj. Clarence Brown Theatre, Knoxville March 2005.
Buried Child. By Sam Shepard. Dir. Veronika Nowag-Jones. Clarence Brown Theatre, Knoxville, October 2003.
Nora. By Henrik Ibsen. Adapted by Ingmar Bergman. Dir. Frank Hänig. Clarence Brown Theatre, Knoxville, 2002.
The Brecht File. By George Tabori. Dir. Veronika Nowag-Jones, Clarence Brown Theatre, Knoxville, April 2001. U.S. premiere.
Arcadia. By Tom Stoppard. Dir. David Kennedy. Clarence Brown Theatre, Knoxville, September 2000.
Don Carlos. (Workshop) By Friedrich Schiller. Dir. Carrie Perloff. American Conservatory Theatre, San Francisco, CA. October 2000.
The Threepenny Opera. By Bertolt Brecht. Dir: Elizabeth Craven. Clarence Brown Theatre, Knoxville, October 1999.
The Seagull. By Anton Chekhov. Dir. Elizabeth Craven. Clarence Brown Theatre, Knoxville, March 1998.
Mein Kampf. By George Tabori. Dir. Henrik Baranowski. Clarence Brown Theatre, Knoxville, October 1997. U.S. premiere.
All My Sons. By Arthur Miller. Dir: Joseph Chaikin. 7Stages, Atlanta, GA. March 1997.
My Mother’s Courage. By George Tabori. Dir. Veronika Nowag-Jones. 7Stages, Atlanta, GA. U.S. Premiere, February 1995.
Phaedra. By Jean Racine. Clarence Brown Theatre, Knoxville, April 2011.
The Misanthrope. By Molière. University of Tennessee Lab Theatre, Knoxville, April 2005.
Piano Plays. By Friederike Roth. Studio Works Theatre, Marietta, October 1995. U.S. Premiere.
The Triumph of Love. By Pierre Marivaux. Classic TheaterWorks, Marietta, April 1995.
The Mistress of the Inn. By Carlo Goldoni. Classic TheaterWorks, Marietta, April 1994.
The Stronger by August Strindberg and The Proposal by Anton Chekhov. Indiana University Theatre, November1989.
Woyzeck. By Georg Büchner. Bloomington Playwrights’ Project, October 1989.