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Degrees and Institutions:
Ph.D., University of Michigan
M.A., University of Michigan
B.A., Brooklyn College
Courses Regularly Taught: Key Debates in Cultural Studies (ACS 7500); Contemporary Ethnic American Drama and Performance; Contemporary Drama/Theatre/Performance;
Modern American, British, Irish, and Continental Drama; Feminist Theory and Theatre; Women Playwrights, Performance Artists,
and Visual Artists; Contemporary Political Theatre; American Culture Studies; Research and Professional Writing.
Area:
Research Interests: Modern and contemporary theatre and drama; feminist studies: cultural theory in relation to theatre, performance and visual
art; performance studies: theatre and public spectacle with a focus on fascism, genocide, public discourse, and museums
Recent Publications:
Spectacular Suffering: Theatre, Fascism, and the Holocaust (Indiana University Press, 1999).
Signs of Life: Comedies of Menace by Joan Schenkar, edited by Vivian Patraka, (Wesleyan U Press, 1998) 285 pages. Author of Introduction, xi-xvi.
"Situating Genocide and Difference: The Cultural Performance of the Term Holocaust in U.S. Public Discourse,"Jews and Other Differences: The New Jewish Cultural Studies, eds. Jonathan Boyarin and Daniel Boyarin (U of Minnesota Press, 1997) 54-78.
"Spectacles of Suffering: Performing Presence, Absence, and Historical Memory at U.S. Holocaust Museums," Performance and Cultural Politics, ed. Elin Diamond(Routledge, 1996) 89-107.
"Local Struggles/ Partial Explanations: Producing Feminist Theory in the Classroom," with Ellen Berry, for Changing Classroom Practices: Resources for Literary and Cultural Studies, ed. David Downing (NCTE, 1994) 122-148.
"Robbie McCauley: Obsessing in Public" The Drama Review (Vol. 37, #4, [T138] 1993) 25-55.
"Split Britches inLittle Women (The Tragedy): Staging Censorship, Nostalgia, and Desire," The Kenyon Review (Vol. XV, #2, 1993) 6-13, followed by my edited text of Little Women (The Tragedy) 14-26.
"Pain, Passion, and Parody: A Dialogue," with Jill Dolan, Journal of Dramatic Theory and Criticism (Vol. 8, #1, 1993) 83-99.
"Fascist Ideology and Theatricalization," Critical Theory and Performance, eds. Janelle Reinelt and Joseph Roach (U of Michigan Press, 1992) 336-349.
"Binary Terror and Feminist Performance: Reading Both Ways,"Discourse, "Performance Issue(s)" issue (Vol. 14, #2, 1992) 163-185.
"Feminism and the Jewish Subject in the Plays of Sachs, Atlan, and Schenkar," Performing Feminisms: Feminist Critical Theory and Theatre, ed. Sue Ellen Case (Johns Hopkins, 1990) 160-174.
"Mass Culture and Metaphors of Menace in Joan Schenkar's Plays,"Making a Spectacle: Feminist Essays on Contemporary Women's Theatre, ed. Lynda Hart (U of Michigan Press: 1989) 25-40.
"Lillian Hellman's Watch on the Rhine: Realism, Gender and Historical Crisis," Modern Drama (Vol. 32, #1, 1989) 128-145.
"Contemporary Drama, Fascism, and the Holocaust," Theatre Journal
(Vol. 39, #1, 1987) 65-77.
"Staging Memory: Contemporary Plays by Women," MichiganQuarterly Review
(Vol. 24, #1, 1987) 285-292.
Sam Shepard, with Mark Siegel, Western Writers Series (Boise State University, 1985) 1-50.
"Notes on Technique in Feminist Drama: Apple Pie and Signs of Life," Women & Performance, A Journal of Feminist Theory (Vol. 1, #2, 1984) 58-72, followed by my edited text of Apple Pie, 73-132.
Feminist Re-Visions: What Has Been and Might Be, co-edited with Louise A. Tilly (U of Michigan, 1983) 335 pages. Author of Introduction, 1-9.
Awards and Honors:
2000: Honorable mention, Joe A. Callaway Prize for Best Book on Drama & Theatre in 1999 through 2000, NYU, and Honorable mention,
Barnard Hewitt Book Award for Outstanding Research in Theatre History and Studies for 1999, American Society for Theatre Research
1998: Project Director, "Gomez-Pena/Sifuentes Lecture and Performance," Ohio Humanities Council
1991: NEH Fellow, Summer Seminar on Performance Theory, Modern Drama & Postmodern Theatre, with Herbert Blau, Center for Twentieth
Century Studies, U of Wisconsin, Milwaukee
1989: Kentucky Foundation for Women grant for a Summer Writers Residency at Wolf Pen Women Writers Colony for five feminist
theatre scholars
1989: Jerome Foundation Fellowship, Theatre Scholar in Residence at New Dramatists organization for playwrights, New York
1985: NEH Fellow, Summer Seminar on Fascism as a Generic Phenomenon, Yale University
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