Courses Taught at UF
History of Theatre on Stage I (THE-4110, undergraduate)
Beginning with Diana Taylor’s concepts in The Archive and the Repertoire, this course offered a crash course on over two millennia of performance history, beginning in Ancient Egypt, Greece, and Rome and ending at the English Restoration with stops in continental Europe, Japan, India, China, and Southeast Asia. In roughly chronological order, it explored plays, theoretical texts, theatre spaces, cultural artifacts, and embodied performance practices.
Playwriting Workshop (TPP-4600, undergraduate)
In this class, students interested in playwriting learned by doing. We explored dramatic structure, influential plays, and conventions of contemporary scripts, but will did so in order to question them rather than reify them. By completing four major writing assignments (a “Bakeoff” inspired by Paula Vogel, Mac Wellman, and Constance Congdon’s classic exercise, a Ten-Minute Play, and Adaptation, and a One-Act) and workshopping their material with their peers, students tried their hands in a variety of formats, styles, and conventions, developing a “toolkit” of techniques that worked for them and fueled their own individual processes. While students had the option to hear one of their final plays performed in a reading environment, the emphasis here was on process, not on product.
History, Literature, Criticism I (THE-6525, graduate)
Designed for first-year MFA actors and second-year MFA set, lighting, and costume designers, This course fundamentally affirmed the interconnectedness of history, dramatic literature, and theory as well as their inseparability from theatrical practice. This was not simply a history class for actors and designers, but rather a space for theater makers (including the professor) to learn how use scholarship and pedagogy to inform their own artistic practice. Though we moved roughly chronologically, we also thought historiographically: how could we make connections between plays, cultural contexts, and critical or theoretical discourses without unilaterally declaring what works and theatrical practices were worthy of our study and consideration? Because each of us had encountered theatre history in some form before and had some understanding of what constitutes a standard Western “canon,” we used the opportunity of this class to go deeper.