Research
Interests:
Acting
Practice and Pedagogy; Performance Composition, Theory,
& Methodology; Ethnography, Autoethnography, Phenomenology,
Hermeneutics; Performance, Gender, and Sexuality; Women
and Representation; Feminist Theory & Criticism; Personal
Narrative; Narrative Theory; Vocal Production.
Recent
and Reoccurring Courses:
Performance
Studies I (THFM 202); Acting: Principles (THFM 241); Acting:
Voice and Movement (THFM 242); Acting: Character and Range
(THFM 344); Acting: Topics and Applications (Dialects,
2001; Stand-up Comedy and Solo Performance, 2005) (THFM
345); Performance Studies -- Stand-up and Solo Performance
(THFM 668); Theatrical Visions -- The Voice and the Actor
(THFM 682); Research and Publication (THFM 781); Gender
and Sexuality as Performance (THFM 768/ACS 780/WS 782);
Acting Pedagogy (THEA 682); Performance, Culture, and
Ethnography (THEA 768/ACS 675/WS 782)
Selected
Publications:
“Etudes:
Lessons from the Heart of Ron Pelias,” Studies
in Symbolic Interaction, in press.
Performing
Femininity: Rewriting Gender Identity. Walnut Creek:
AltaMira P (A Division of Rowman and Littlefield), 2004.
“Power
and Personality as Commodity in Evita.” Co-authored
with Michael Ellison. Theatre Annual 57 (2004):
69-94.
"Bodily
Poeticizing in Theatrical Improvisation: A Typology of
Performative Knowledge.” Co-authored with Ronald
J. Pelias. Theatre Topics 14 (2004): 431-443.
"Performing
The Abject Body: A Feminist Refusal of Abjection." Theatre Annual 55 (2002): 48-60.
"From
Silence to Siren to Silence: A Personal Tale of Political
Consequence." Qualitative Inquiry 8 (2002):
622-631.
"Interlude:
Breaking Habits and Cultivating Home." Ethnographically
Speaking: Autoethnography, Literature, and Aesthetics.
Eds. Carolyn Ellis and Arthur P. Bochner. Walnut Creek:
AltaMira P, 2001. 76-86.
"An
Ethnographic Ghost Story: Adapting >What's a Nice Commodity
Like You Doing in a Spectacle Like This?" Text
and Performance Quarterly 20 (2000): 402-415.
"Toward
a Poetic Phenomenology of Performance." Co-authored
with Ronald J. Pelias. On Stage Studies 22 (1999-2000):
64-77.
"Emergent
Issues in the Performance of a Border-Transgressive Narrative." The Future of Performance Studies: Visions & Revisions Ed. Sheron J. Dailey. Annandale: NCA, 1998. 214-220.
"Social
Drama in the Spectacle of Femininity: The Performance
of Weight Loss in the Weight Watchers Program." Women's
Studies in Communication 19 (1996): 291-312.
Dramatic
Arts:
Director
of Hedda Gabler by Henrik Ibsen. BGSU Department
of Theatre and Film production, Joe E. Brown Theatre,
March 2006.
Performed
the role of Vivian Bearing in an adapted and abridged
version of Wit by Margaret Edson for the St.
Vincent Hospital Ethics Panel, Leadership Development
Institute VII, Stranahan Theatre, Toledo, OH, 14 December,
2004.
Performer,
“Lay It on the Line,” Training DVD, Marathon
Oil, summer 2004.
in/habit/us.
Writer and Performer of this full-length one-person performance.
This performance was an invited featured performance created
for the Returning Artists Program at Southern Illinois
University, Carbondale, April, 2004.
Director
of Sally’s Rape by Robbie McCauley. BGSU
Department of Theatre production, Joe E. Brown Theatre,
February, 2004.
Performer,
“Knowledge Network Television,” Marathon Oil
Computer Based Training, 10,000 viewers worldwide, spring
2002.
Wit by Margaret Edson. Toledo Repertoire Theatre, directed
by Brian Bethune; 17 performances during February and
March, 2002. Principal role of Vivian Bearing, Ph.D.
Alone
& On Stage: An Evening of Solo Performances. Organizer,
Producer and Performer. Local area performers and performing
arts students of Centenary College were featured at these
fund-raising events which benefited the Philadelphia Center,
a non-profit HIV/AIDS relief organization in Shreveport,
Louisiana. Kilpatrick Auditorium, Centenary College of
Louisiana, Shreveport, LA. March, 1999 and April 2000.
Censor.
Performer and Collaborator/Writer. A collaboratively created
performance developed through improvisation centering
on the ways people censor others, from institutional laws
to personal silencing. Invited Performance presented at
the 1997 Otis J. Aggertt Festival, Indiana State University,
Terre Haute, IN and as part of the 1996/1997 Marion Kleinau
Theatre season. Kleinau Theatre, Southern Illinois University,
Carbondale, 27- 28 February, and 1 March, 1997.
Overexposed.
Performer and Collaborator/Writer. A collaboratively created
performance developed through improvisation probing themes
of personal crisis. Presented as part of the 1995/1996
Marion Kleinau Theatre season. Kleinau Theatre, Southern
Illinois University, Carbondale, 25-27 April, 1996.
Blood/Lust.
Writer, Adapter, and Director. A full-length performance
adapted from short fiction and with original material
exploring the fictional depiction of lesbian vampires.
Presented as part of the 1995/1996 Marion Kleinau Theatre
season. Kleinau Theatre, Southern Illinois University,
Carbondale, 28-29 February, and 1 March, 1996.
What's
a Nice Commodity Like You Doing in a Spectacle Like This.
Adapter/Ethnographer, Director, and Performer. Full-length,
one-person performance based upon my ethnographic study
on exotic dancers. Presented as part of the 1994/1995
Marion Kleinau Theatre season. Quigley Auditorium, Southern
Illinois University at Carbondale, 23-25 March, 1995.
Sacred
Monster. Masters Thesis Project. Writer, Director,
Producer. Full-length performance based upon the biographies,
letters and diaries of Edward Gordon Craig, Isadora Duncan,
Konstantin Stanislavsky and Olga Knipper Chekhova. Director,
and adapter/compiler. Studio Theatre, California State
University - Northridge, November, 1992.
The
Guest. Adaptor and Director of this short story by
Albert Camus. Studio Theatre, California State University
- Northridge, April, 1992.
Film
and Television:
The
Last Days of Patton, Nurse O=Brien; Directed by Delbert
Mann; CBS TV
Dream
Lover, Susan; Directed by Alan J. Pakula; Peerford
Ltd.
Morons
from Outer Space, Nurse; Directed by Mike Hodges;
Thorn EMI
The
Day After the End of the World, Gwenn; Directed by
David Fine; NFTVS
Union
Maid, Wendy, Directed by Joel Miller; UCLA
The
Hanging Heart, Miranda; Directed by David Wolpe;
UCLA
A
Killing on the Exchange, Millie Thorn (Principal
Role) ; Directed by Graham Evans, Anglia TV
If
Tomorrow Comes, Sally (Ben's Secretary); Directed
by Jerry London, Eleni Films
Magnum
P.I., Stewardess, Directed by Russ Maybury, Universal
TV
Love
Song, Susan Isaacs (Featured Role); Directed by Rodney
Bennett, Anglia TV
Apple
Computers Featured Player in Super Bowl half-time commercial
"Think Different"
Visa
Card/Bank of Scotland Principal Player
Nescafé
Principal Player
Homo
Faber, Stewardess; BBC Radio |
