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The election of officers for the 2011 - 2014 term has concluded. Wendy Arons, Secretary of ASTR, and the rest of the Executive Committee are pleased to announce the results of the election. The terms of the new officers will begin at the conclusion of the annual meeting.
American Society for Theatre Research Announces Officers for 2011-2014 Term
The election of officers for the 2011 - 2014 term has concluded. Wendy Arons, Secretary of ASTR, and the rest of the Executive Committee are pleased to announce the results of the election. The terms of the new officers will begin at the conclusion of the annual meeting.
Treasurer (three-year term, 2011-2014)
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Cindy Brizzell-Bates is an Assistant Professor of Theater at Empire State College, Schenectady NY. Her prior experience in financial management includes serving as the Box Office Manager of the International Festival of Arts and Ideas and as Managing Director of ARTNOW, a national event to support arts funding held on the Mall in Washington, DC. She has also held various leadership roles in the Association for Theatre in Higher Education (ATHE) such as Vice President for Advocacy; she has also served as Focus Group Representatives for the Theater History (elect), Dramaturgy, and Performance Studies Focus Groups. She was a co-founder of Performance Studies International (PSi) and was responsible for the incorporation process of this organization. She holds an MA in Performance Studies from NYU and an MFA and DFA in Dramaturgy and Dramatic Criticism from Yale School of Drama. She is also a resident director at Curtain Call Theatre, NY.
Marla Carlson is an Assistant Professor in the Theatre and Film Studies Department at the University of Georgia, where she coordinates the Theory/History area and the PhD program in Theatre and Performance Studies. She is also affiliated with the Institute for Women’s Studies at UGA. Palgrave Macmillan published Marla’s first book, Performing Bodies in Pain: Medieval and Post-Modern Martyrs, Mystics, and Artists in 2010, and she is currently revising an article about furry fandom that began as an ASTR plenary in 2007. For ASTR, Marla served as member-at-large of the Committee on Conferences from 2008-10, on the Program Committee for the 2009 conference, and on the Finance Committee from 2005-08. She previously chaired the Theatre History Focus Group for ATHE and was member-at-large for the Theatre Criticism Focus Group.
Soyica Colbert is an Assistant Professor of English at Dartmouth College. Her first book The African American Theatrical Body: Reception, Performance and the Stage is forthcoming from Cambridge University Press. She is currently working on a second book project Black Movements: Performance, Politics, and Migration. She has published articles on James Baldwin, Alice Childress, and August Wilson. President of the Black Theater Association, Founder of the New England Black Scholars Collective, and Chair of the American Society for Theatre Research Errol Hill Award Committee, Colbert is the recipient of a Woodrow Wilson Foundation Fellowship (2010-2011), Walter and Constance Burke Research Award (2007 and 2010), and Stanford Humanities Postdoctoral Fellowship (2006-2007). Recent classes include Black Theatre U.S.A., American Drama, the Drama of August Wilson and Suzan-Lori Parks, and Contemporary Playwrights of Color. Her research interests span the 19th-21st centuries, from William Wells Brown to Beyoncé, and from poetics to performance.
Suk-Young Kim is Associate Professor of Theater Studies at the University of California, Santa Barbara. Her research interests expand over a wide range of academic disciplines, such as East Asian Performance, Gender and Nationalism, Korean Cultural Studies, Russian Literature, and Slavic Folklore. Her research has been acknowledged by the International Federation for Theatre Research New Scholar's Prize (2004), the American Society for Theater Research Fellowship (2006), the Library of Congress Kluge Fellowship (2006-7), and the Academy of Korean Studies Research Grant (2008, 2010) among others. She is the author of two books: Illusive Utopia (University of Michigan Press, 2010) explores how the state produced propaganda performances intersect with everyday life practice in North Korea and Long Road Home (Columbia University Press, 2009), co-authored with Kim Yong, documents the testimony of a North Korean labor camp survivor.
Kirsten Pullen is Assistant Professor and Director of Graduate Studies in the Department of Performance Studies at Texas A&M University. A member of ASTR since 1999, she earned her PhD from the University of Wisconsin. Before joining the faculty at Texas A&M, she was an Assistant Professor in the English Department at the University of Calgary. Her first book, Actresses and Whores: On Stage and in Society (Cambridge UP, 2005) demonstrates how some women willingly occupy the whore position to offer alternative narratives of female sexual expression. Her current project, Like a Natural Woman: Spectacular Female Performance in Classical Hollywood (Rutgers UP, forthcoming 2012), determines how the embodied nature of performance undermines the assumed conservativism of Naturalism, and the Classical narratives within which it’s mobilized. She has published articles on Internet fandom, theatre audiences, and actresses; teaches courses in theatre history and intercultural performance; and directs departmental productions.
Leigh Woods has written extensively about performance and the history of acting. He is author of Garrick Claims the Stage, On Playing Shakespeare, Public Selves/Political Stages (with Agusta Gunnarsdottir), and Transatlantic Stage Stars in Vaudeville and Variety. He has co-edited Playing to the Camera, and his articles have appeared in Theatre Survey, Theatre Journal, Scandinavian Review, Shakespeare Quarterly, Shakespeare Yearbook, Essays in Theatre, Theatre Research International, New Theatre Quarterly, The Arthur Miller Journal, and Contemporary Theatre Review. He’s chaired the ASTR Nominating Committee, co-edited the first ASTR members’ directory to appear online, and served as Head of Graduate Studies and Head of Theatre Studies at the University of Michigan where he’s taught since 1987. A member of the Actors’ Equity Association, he’s performed over 100 roles onstage, including American premieres of plays by George W. D. Trow, Heiner Müller, and Wendy Wasserstein, and most recently played Leonato in Much Ado About Nothing.
John Fletcher is Assistant Professor of Theatre History and Women’s and Gender Studies at Louisiana State University in Baton Rouge, where he teaches graduate and undergraduate courses in history, literature, analysis, theory, and gender studies. He holds a PhD in Theatre Historiography from the University of Minnesota. Dr. Fletcher pursues research in social change performance, community-based theatre, cultural and political theory, evangelical and fundamentalist Christianity, queer studies, and Spanish Golden Age performance. He serves as Conference Planner and Second Vice-President of the Mid-America Theatre Conference. His work appears in Text and Performance Quarterly, Ecumenica, Theatre Survey, Theatre Topics, and Laberinto as well as in the anthologies Querying Difference in Theatre History and Theatre Historiography: Critical Interventions. Currently, Dr. Fletcher is completing a monograph, Preaching to Convert, in which he frames a number of outreach methods by US evangelicals as specimens of activist performance.
David Calder is currently a doctoral candidate in the Interdisciplinary Ph.D. in Theatre and Drama (IPTD) at Northwestern University. His dissertation examines French street theatre companies working in former industrial spaces and their role in urban redevelopment. At stake in the work of each company is how ex-industrial towns construct narratives linking their industrial heritage to their new roles in the global economy. More broadly, his research interests include street performance, space and place, site-specific art, theatre historiography, and shifting forms of artistic and theatrical labor. David's interest in theatrical labor includes our labor as theatre scholars: as part of the GSC cabinet, his goal is to foster honest dialogue about the academic and non-academic job markets and the future of print and digital publishing.
Gay Gibson Cima is a Professor of English at Georgetown University. Her book Early American Women Critics: Performance, Religion, Race (Cambridge 2006) won the ASTR Barnard Hewitt Award. A former Secretary of ASTR, Cima has contributed to the Society in a variety of ways, from chairing the Program, Fellowship, and Kahan Committees to acting as ASTR’s delegate to ACLS and NHA. She has served on the Executive Committee and contributed to the Supplemental Research, Visiting Scholars, and Nominating Committees. Cima has published widely on feminist performance history and critical race theory in journals such as Theatre Survey and Theatre Journal as well as anthologies such as Changing the Subject: Marvin Carlson and Theatre Studies 1959-2009 (Michigan 2009) and The Sage Handbook of Performance Studies (2006). She published Performing Women (Cornell) in 1993. A recipient of ASTR’s Kahan Prize, Cima has published essays about ASTR’s past and its future possibilities.