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Matsushita Foundation Japanese Studies Program, 1989-90.

Shoin Women's College, Kobe, Japan and Geneva, NY.

School of Criticism and Theory, Summer 1984

Northwestern University, Evanston, Illinois.

Doctor of Philosophy, Comparative Literature and Theatre. 1979.

University of North Carolina-Chapel Hill.

Dissertation: The Main Text in Contemporary Drama: Osborne, Bernhard, Handke & Bond. Advisor: Professor Eugene Falk.

Master of Arts, Theatre Arts. 1975.

Ohio State University.

Thesis: Presentational Devices in Selected Comedies by Ben Jonson, George Chapman, John Marston & Richard Brome. Advisor: Professor Donald Glancy.

Bachelor of Arts, Communication Arts-Theatre. 1973.

University of Wisconsin-Madison

Honors Thesis, Structure in Fletcherian Drama. Advisor: Professor Ronald Mitchell

PUBLICATIONS

BOOKS

AUTHOR

S. N. Behrman: A Research and Production Sourcebook. Greenwood Press, Westport, CT. 1992.

Words Heard and Overheard: The Main Text in Contemporary Drama. Garland Publishing, New York, 1990.

Introduction to Theatre. University of North Carolina Independent Study Division, Chapel Hill. l981.

EDITOR

Tennessee Williams: A Casebook. Garland Publishing, New York (in preparation)

Christopher Hampton: A Casebook. Garland Publishing, New York. 1990.

ARTICLES

In Press

‘‘ A Deviant Dramaturgy: Lines of Escape in Summer and Smoke and The Milk Train Doesn’t Stop Here Anymore’’ in Tennessee Williams: A Casebook (in preparation).

‘‘ Baroque Folds of Time: City of Death, The Glad Hand and Herbert Marcuse’’ has been accepted for publication in British Drama and the New Left, edited by Meenakshi Ponnuswami. Garland Publishing.

‘‘ Like Father, Like Son: The Ciphermale in Malcolm and A Delicate Balance’’ has been accepted for publication in Edward Albee: A Casebook, edited by Bruce Mann. Garland Publishing.

Published

‘‘ Making Relations: The Dramatic Skepticism of Icecream,’’ in Caryl Churchill: Contemporary Re-Presentations, edited by Sheila Rabillard. Blizzard Press, 1999: 114-128.

‘‘ Generations of Nora: Self-Realization and the Comedies of Rachel Crothers and Wendy Wasserstein" in Wendy Wasserstein: A Casebook, edited by Claudia Barnett. Garland Publishing, 1998: 35-56.

‘‘ Fuhrmann Henschel: The Ruins of Realism,’’ Theatre Journal, 50, 3 (October 1998), 319-334.

‘‘ Wisdom in Fragments: The Old Ones’’ in Arnold Wesker: A Casebook, edited by Reade Dornan. Garland Publishing, 1998: 233-252.

‘‘ Offstage Sounds: The Permeable Playhouse of Charles Charles,’’ Theatre Research in Canada/Recherches Théâtrales au Canada 18, 1 (Spring 1997): 3-17.

‘‘ O'Neill's Queer Interlude: Epicene Excess and Camp Pleasures,’’ The Journal of Dramatic Theory and Criticism, 12, 1 (Fall 1997), 3-22.

‘‘ What Makes Sammy Run?: S. N. Behrman and the Fugitive Kind’’ in Hollywood on Stage: Playwrights Evaluate the Culture Industry, edited by Kimball King. Garland Publishing, 1997: 19-38.

‘‘ The Pleasures of Brick: Eros and the Gay Spectator in Cat on a Hot Tin Roof’’ Journal of American Drama and Theatre Studies 9, 1 (Winter 1997), 11-25.

‘‘ Seduced by Meritocracy: Class and Sexuality in A Patriot for Me’’ in John Osborne: A Casebook, edited by Patricia Denison. Garland Publishing, 1997: 147-165.

‘‘ Servant of Three Masters: Realism, Idealism and `Hokum' in American High Comedy,’’ in Realism and the American Dramatic Tradition, edited by William Demastes. University of Alabama Press, 1996: 71-90.

‘‘ Figuring Guilt: Wolfgang Borchert's Outside the Door and Carl Zuckmayer's The Song in the Fiery Furnace,’’ Theatre and Religion 2 (1996): 1-10.

‘‘ Exit the Queen: History and Histrionics in Christina,’’ New England Theatre Journal 7 (1996): 77-93.

‘‘ Rosmersholm: The Maelstrom of Modernity,’’ Essays in Theatre/Études Théâtrales 13 (May 1995): 159-170.

‘‘ Consuming Hart: Sublimity and Gay Poetics in Suddenly Last Summer,’’ Theatre Journal 47, 2 (May 1995): 229-251.

‘‘ Life in a Silken Net: Mourning the Beloved Monstrous in Lydie Breeze,’’ Journal of Dramatic Theory and Criticism, 9, 1 (Fall 1994): 21-42.

‘‘ The Romans in Britain: Aspirations and Anxieties of a Radical Playwright,’’ Howard Brenton: A Casebook, edited by Ann Wilson. Garland Publishing, 1992: 71-84.

‘‘ Broken Bodies: Three Expressionist Dramas,’’ Theatre and Religion, 1 (1992): 40-49.

‘‘ Melodrama Pays a Visit: Strindberg's Oväder,’’ Themes in Drama, 14 (1992): 183-191.

‘‘ `Coming Down in the World': Motifs of Benign Descent in Three Plays by Terence Rattigan,’’ Modern Drama, 30 (1990): 394-408.

‘‘ Kane and Able: Welles's Film & Hampton's Screenplay,’’ Christopher Hampton, Garland Publishing, 1990: 79-94.

‘‘ Between the Devil & the Deep Blue Sea: Reification and Gay Identity in Kondoleon's The Fairy Garden & Zero Positive,’’ Essays in Theatre/Études Théâtrales 8 (1989): 23-33.

‘‘ `The Greatest Uncertainty': The Perils of Performance in Thomas Bernhard's Der Ignorant und der Wahnsinnige ,’’ Modern Drama 23 (1980): 365-380.

‘‘ The Comedy of Easter Sunday: Dramatic Form in the Innsbrucker Osterspiel,’’ Theatre Studies 22 (1975-76): 36-41.

REFERENCE ENTRIES

‘‘ Paul Green,’’ ‘‘Charles Ludlam’’ and ‘‘Harry Kondoleon’’ in Twentieth-Century American Dramatists, ed. Christopher Wheatley. Bruccoli Clark. Forthcoming.

‘‘ John Guare’’ and ‘‘A. R. Gurney’’ in Encyclopedia of World Literature, ed. Steven Serafin. St. James Press. Forthcoming.

‘‘ Maxwell Anderson,’’ ‘‘Sidney Howard’’ and ‘‘George Kelly’’ in Encyclopedia of American Literature, ed. Steven Serafin. Continuum Press, 1999.

‘‘ Terence Rattigan’’ and ‘‘W. Somerset Maugham’’ in British Playwrights, 1880-1956, edited by William Demastes and Katherine Kelly. Greenwood Press, 1996.

‘‘ S. N. Behrman,’’ American Playwrights, 1880-1945, edited by William Demastes. Greenwood Press, 1993: 40-56.

Entries for Shakespeare Round the Globe, ed. Samuel Leiter. (Romeo & Juliet, directed by Helpmann, Zeffirelli, Langham, Hands; Richard II , directed by Benthall, Hall, Haugk, Lietzau, Hands; The Merchant of Venice, directed by Mitchell; All's Well That Ends Well, Barton.) Greenwood, 1990.

REVIEWS

Books

Jeanette R. Malkin, Memory-Theater and Postmodern Drama, Journal of Dramatic Theory and Criticism. Forthcoming.

Susan Harris Smith, American Drama: The Bastard Art, Journal of Dramatic Theory and Criticism 12, 2 (Spring 1998), 167-169.

Maria M. Delgado and Paul Heritage, eds. In Contact with the Gods? Directors Talk Theatre, Essays in Theatre/Études Théâtrales 16 (November 1997), 105-107.

Robert Vorlicky, Act Like a Man: Challenging Masculinities in American Drama, Modern Drama 39, 1 (Spring 1996): 228-229.

Stanton B. Garner, Jr., Bodied Spaces: Phenomenology and Performance in Contemporary Drama and W. B. Worthen, Modern Drama and the Rhetoric of Theatre, Theatre Journal 48 (May 1996): 243-244.

Janelle Reinelt, After Brecht: British Epic Theater, Journal of Dramatic Theory and Criticism 10, 1 (Fall 1995): 143-145.

Jenny S. Spencer, Dramatic Strategies in the Plays of Edward Bond, Essays in Theatre/Études Théâtrales 12 (May 1994): 197-199.

Robert Wallace, ed., Making, Out, Canadian Theatre Review 74 (Spring 1993): 86-88.

Nicholas de Jongh, Not in Front of the Audience: Homosexuality on Stage, Theatre Journal 45 (1993): 264-266.

Ruby Cohn, Retreats from Realism in Recent English Drama, and Elizabeth Hale Winkler, The Function of Song in Contemporary British Drama, Essays in Theatre/Études Théâtrales 11 (1992): 103-105.

Foster Hirsch, Harold Prince and the American Musical Theatre, Essays in Theatre/Études Théâtrales 8 (1990): 140-141.

Frances Grey, Noel Coward and B. A. Young, The Rattigan Version, Theatre Journal 41 (1989): 263-264.

Tony Coult, ed., Engineers of the Imagination, Theatre Journal 36 (1984): 550-551.

Patrice Pavis, Languages of the Stage, Theatre Journal 35 (1983): 422-423.

Performances

Richard Foreman, Foremanfest at Todo con Nada, has been accepted for publication in Theatre Journal.

Christoph W. Gluck, Iphigénie en Tauride at Glimmerglass Opera, Journal of Dramatic Theory and Criticism, 13 (Fall 1998): 183-186.

Richard Foreman, Pearls for Pigs at Tribeca Arts Center, Theatre Journal, 50 (December 1998): 517-518.

Richard Foreman, I've Got the Shakes at the Ontological-Hysteric Theater, Theatre Journal 47 (December 1995): 556-558. [reprinted in Richard Foreman, edited by Gerald Rabkin, Johns Hopkins University Press, 1999: 106-108.]

William Shakespeare, Titus Andronicus at Theatre for a New Audience, Theatre Journal 46 (December 1994): 551-552.

Romantics Festival, Actors Theatre of Louisville, Theatre Three Summer 1988: 113-117.

The American Pirandello Festival, Actors Theatre of Louisville, Theatre Three Spring 1987: 71-76.

William Shakespeare, The Henries Project at the Indiana Repertory Theatre, Theatre Journal 36 (1984): 267-269.

Georg Büchner, Danton's Death at the National Theatre, Theatre Journal 35 (1983): 111-112.

PAPERS AND GUEST LECTURES

‘‘ The Cocktail Hour: High Comic Tradition and Revision’’ has been submitted to the ATHE Convention, Washington, D. C.

‘‘ Escaping the Symmetries of Glorious Hill: Summer and Smoke’’ was delivered at the Tennessee Williams Symposium, Canisius College and Studio Arena Theatre, Buffalo, New York, November 20, 1999.

‘‘ Mom, Dad and Other Waste Matter: David Greenspan's Dead Mother’’ was delivered at the 9th Annual Central New York Conference on Language and Literature,’’ Cortland College, New York, October 4, 1999.

‘‘Dressing up, Falling Flat: Williams, Ludlam and an Idea of a Queer Theatre’’ was delivered as a guest lecture at the University of Guelph, March 25, 1999.

‘‘ Acting Butch: Schiller, Strindberg and Sturm und Drang Masculinity’’ West Coast Eighteenth-Century Studies Conference, San Bernadino, February 20, 1999.

‘‘ When We Dead Awaken: Some Versions of the Sublime,’’ Association for Theatre in Higher Education Conference, San Antonio, August 13, 1998.

‘‘ Power to the People: Snoo Wilson's Dramaturgy of Magic,’’ Southern Modern Language Association convention, Atlanta, November 14, 1997.

‘‘ Fuhrmann Henschel's Uncertain Circuit,’’ Association for Theatre in Higher Education convention, Chicago, August 5, 1997.

‘‘ The Trouble with Brick: Desire and Dramaturgy in Cat on a Hot Tin Roof,’’ Association for Theatre in Higher Education convention, New York City, August 9, 1996.

‘‘ Exit the Queen: Kristina and the Trace of Majesty,’’ Pacific Ancient and Modern Language Association convention, Santa Barbara, November 4, 1995.

‘‘ Rosmersholm: Mourning, Masochism, Modernism,’’ Central New York Conference on Languages and Literature, Cortland, October 17, 1994.

‘‘ Between Zion and Garbo: Eroticism and Identity in an Essay by S. N. Behrman,’’ Conference of the Philological Association of the Pacific Coast, San Francisco, November 5, 1994.

‘‘ Strained Interlude: Mountains, Molehills and the Giddy Mausoleum of Desire’’ Association for Theatre in Higher Education convention, Chicago, July 30, 1994.

‘‘ A Closet as Big as Vienna: John Osborne's A Patriot for Me,’’ Association for Theatre In Higher Education convention, Atlanta, August 2, 1992.

‘‘ Forwards and Backwards: Ricouer's Hermeneutic of the Symbol,’’ Association for Theatre in Higher Education convention, Chicago, Ill. August 10, 1990.

‘‘ Melodrama Pays a Visit: Strindberg's Oäväder,’’ University of California-Riverside Themes in Drama Conference, February 16, 1990.

‘‘ Illusory Disease, Illusory Doctor: A View of Moliére's Theatre,’’ guest lecture at Goshen College, Goshen, Indiana, November 29, 1989.

‘‘ The Rottenness of Representation--Harry Kondoleon's The Fairy Garden,’’ Association for Theatre in Higher Education convention, New York City, August 3, 1989.

‘‘ Down in the Depths on the Drawing Room Floor: S. N. Behrman and the Dilemmas of High Comedy,’’ University of California-Riverside Colloquium on Languages and Literature, March 10, l989.

‘‘ Two Kinds of Otherness: Zuckmayer's Der Gesang im Feuerofen and Borchert's Draussen vor der Tür,’’ Association for Theatre in Higher Education convention, San Diego, August 5, 1988.

‘‘ Romantic Politics,’’ guest lecture, Actors Theatre of Louisville, October 5, l987.

‘‘ Celebrating Loss: Rattigan's Ross and the Renunciation of Empire,’’ Modern Language Association convention, San Francisco, December 29, 1987.

‘‘ Handke's Version of Pastoral,’’ Modern Language Association convention, New York, December 29, l986.

‘‘ Thornton Wilder & the American Character,’’ guest lecture, Indiana Repertory Theatre, Indianapolis, November 2, l986.

‘‘ Seeing in the Dark: An Introduction to Luigi Pirandello,’’ guest lecture, Actors Theatre of Louisville, October 13, 1986.

‘‘ Broken Bodies: Three Weimar Dramas,’’ Association for Theatre in Higher Education convention, New York University, August 13, l986.

‘‘ Socrates Rehabilitated? A Study in Hamann's Hermeneutics,’’ Northeast Modern Language Assocation, New Brunswick, April 3, l986.

‘‘ The Court of Louis XIV: A Society of Display,’’ guest lecture, Actors Theatre of Louisville, January 18, l986.

‘‘ A Talent to Amuse: Thomas Bernhard as Theatrical Entertainer,’’ Modern Language Association convention, Chicago, December 30, l985.

‘‘ On the Site: Some Reflections on Michel Foucault & Theatre,’’ American Theatre Assocation convention, Toronto, August 1985.

‘‘ On the Origin of the Theatrical Work of Art: A Heideggerian Meditation,’’ Symposium, ‘‘Towards a New Poetics of Theatre,’’ College of William & Mary, April 1985.

‘‘ Oedipus Deferred: The Absent Father in No Time for Comedy,’’ University of Louisville Conference on Twentieth Century Literature, March 1985.

‘‘ Containing the Monstrous: Jean Cocteau & the Camera's Eye,’’ guest lecture, Wilkes College, April 13, 1985.

‘‘ Shoot-Out at the Bermuda Triangle: Desire and the Other in The Glad Hand,’’ American Theatre Association convention, Toronto, August 1985.

‘‘ Selling `The Circumcision': Father & Son in Behrman's Lord Pengo,’’ ‘‘William Inge & His Contemporaries’’ Independence, April 17, l984.

‘‘ The Guilty Crown: Preliminary Meditation on a Shakespearean Symbol,’’ Symposium on the Henries, Indiana Repertory Theatre, November 19, l983.

‘‘ Of Swine & Men: Doubling Patterns in Snoo Wilson's Pignight,’’ Modern Literature Conference, Michigan State University, October 14, l983.

‘‘ Nietzsche: From History to Autobiography,’’ guest lecture, Tulsa Junior College, April 8, l982.

‘‘ Performance & Understanding : Towards a Hermeneutics of Theatre, ’’ Southern Comparative Literature Association convention, University of the South, February 12, l982.

‘‘ `The Dark Backward'; A Hermeneutics of Ghosts,’’ Southeastern Theatre Conference convention, Atlanta, March 1981.

‘‘ Edward Bond: Towards a Drama of Rationality,’’ Modern Language Associaiton convention, San Francisco, December 29, 1979.

‘‘ The Renaissance Order of L'Année derniere a Marienbad,’’ Conference on Literature & Film, Florida State University, Jan. 26, l978.

‘‘ From Frühlings Erwachen to Bingo: Forms of Bildungsdrama,’’ Conference on Comparative Drama, University of Florida, March 4, l978.

THEATRICAL PRODUCTIONS

PRODUCTION POSITIONS

DIRECTOR OF THEATRE

Hobart & William Smith Colleges, Fall 1987-.

Theatre Cornell, 1983-84

DRAMATURG

Opera Memphis, Memphis, Tennessee Touch and Go , 1987-91.

American Theatre Company, Tulsa, Oklahoma 1981-1982

Playmakers Repertory Company, Chapel Hill, North Carolina 1979-81.

DIRECTOR

Hobart & William Smith Colleges

Six Days' Drive, reading, Syracuse Contemporary Theatre, April 1989

The Three Musketeers (with Tom Haas), produced Indiana Repertory Theatre, December 1988; Weathervane Theatre, July 1992.

Frankenstein (with Tom Haas), produced Indiana Repertory Theatre, 1987.

Frankenstein (with Jerald Pope), produced American Theatre Company, 1981.

Grand Tour, book and lyrics (composer, Howard Pollack) reading, Rochester Jewish Community Center, Spring, 1986.

COURSES AND SYLLABI

COURSES TAUGHT

Hobart & William Smith Colleges

Acting I, II, III

Directing

Playwriting I, II

Restoration and 18th Century Drama

Tragedy and Authority

European Drama from Lessing to Ibsen

Modern Drama

American Experimental Theatre

Public Acts, Private Lives [Scandal in Modern European Drama]

Beauty, Cruelty, and Restraint [The Gay Imagination in Modernist Literature]

Politics in British Contemporary Drama

Performing Shakespeare

Shakespeare and His Contemporaries

Visual World of Theatre

Theatre Ensemble I, II, III

Questing Beasts: Humans in Pursuit of Meaning First Year Seminar]

Responses to AIDS [Senior Forum]

American Drama of the 20s [Senior Seminar]

Cornell University

Introduction to Theatre

Acting I

Playwriting I & II

Dramaturgy

Medieval and Renaissance Drama

European Drama from the Restoration to Chekhov

American Drama

20th Century European Drama and Theatre History

Hermeneutic Theory (graduate seminar)

American High Comedy (graduate seminar)

University of North Carolina

Introduction to Theatre

Masterpieces of Western Literature

Introduction to Dramatic Interpretation

PROFESSIONAL ACTIVITIES

Editorial Board, Journal of Dramatic Theory and Criticism, July 1998-.

Editorial Board, Essays in Theater/Études Théâtrales, Nov. 1990-.

Associate Editor, Theatre and Religion, Sept. 1990-1995.

Member, Association for Theatre in Higher Education Awards Committee, 1997-98.

Member-at-Large, Theory and Criticism Focus Group Committee, Association for Theatre In Higher Education, 1997-98.

Consultant to Artistic Director Search Committee, Hangar Theatre, Ithaca, New York, 1996.

Judge, Association for Theatre in Higher Education scholarly article award, 1995-.

Auditor, New York State Council on the Arts, Jan. 1988-1997.

Secretary, Association for Theatre in Higher Education, 1992.

Member, USITT-ATHE joint committee on Production, 1991.

Theory and Criticism Delegate-at-Large, Association for Theatre in Higher Education, 1991-92.

Theory and Criticism Conference Planner, Association for Theatre in Higher Education, 1989-90

Theory and Criticism Forum Representative, Association for Theatre in Higher Education, 1990-91.

Board Member, National Center for the Development of American Opera, March 1989-1991.

Member, Humanities Advisory Panel. Classics in Context Festival, Actors Theatre of Louisville, 1985-1991.

Judge, American Theatre Association dissertation competition, 1982-4.

Judge, Southeastern Theatre Conference new play competition, 1981.