Biographical Information

Ursula Neuerburg-Denzer, PhD
Assistant Professor, Department of Theatre
Faculty of Fine Arts, Concordia University

____________


Employment History

Academic positions:

2016 — ongoing
Associate Professor, Department of Theatre
Concordia University, Montreal.

2011 - 2016
Assistant Professor, Department of Theatre
Concordia University, Montreal.

2006 - 2011
Lecturer, Department of Theatre
Concordia University, Montreal.

2005 - 2006
Assistant Professor of Theater, History and Criticism
Ramapo College, NJ.

Calendar year 2014
Acting Chair, Theater Department
Swarthmore College, PA.

1999 - 2005
Instructor, full-time, Assistant Professor Rank
Swarthmore College, PA.

1996 - 1999
Visiting Assistant Professor of Theatre
University of California, Santa Cruz.

1995 - 1996
Visiting Artist for Meyerhold's Biomechanics
Fordham University, NYC.
____________

Theatre Companies:

2009 — ongoing
A Laboratory for Actor Training (ALAT), NYC — Associate Member
NYC.

1994 - 2016
East Coast Artists — Board Member — (Richard Schechner, Artistic Director)
NYC.

1992 - 1996
East Coast Artists — Founding Member — (Richard Schechner, Artistic Director)
NYC.

1996 - 2004
East Coast Artists — Associate Member
NYC.

1994 - 1998
Transatlantic Theatre Company — Artistic Director

1984 - 1990
Theater Zerbrochene Fenster — Founding Member
Berlin.

____________

Workshops/Classes taught:

1995
Workshop in movement and improvisation
La MaMa, E.T.C, NYC.

1995
Workshop in Shakespeare Symposium
New Jersey Shakespeare Festival

1994
Movement and Improvisation/Performance
University of South Wales, Australia.

1991 - 1996
Led ongoing training in yoga and movement
East Coast Artists, NYC.

1988 - 1990
Classes in movement and scene study
Theater Zerbrochene Fenster, Berlin.

____________

Other Employment:

1983 - 1985
Midwife, employed in Hospitals
Köln and Bensberg, Germany.

1983 - 1985
Relaxation and birth-preparation classes
Stuttgart & Köln, Germany.

____________

Academic Background:

2011
Ph. D. in Theater Studies, Prof. Erika Fischer-Lichte
Freie Universität, Berlin.

1992
M.A. in Performance Studies
New York University, NYC.

1990
B.A. in German, Theater Studies, Anthropology
Freie Universität, Berlin.

____________

Education:

2007
Certified Rasabox Training Instructor

2002 - 2006
Graduate Colloquium "Körperinszenierungen", Guest Scholar.
Freie Universistät, Berlin.

1987 - 1989
Directing Apprenticeship (Prof . Simhandl)
Hochschule der Künste Berlin, Berlin.

1984 - 1986
Acting Certificate (Grotowski, Barba, Strasberg)
ABW Acting School, Berlin.

1983
Certified Midwife, Landesfrauenklinik
Stuttgart.

____________

Movement & Acting:

2015
Viewpoints — Mary Overlie

Body Mind Centering — Wendell Beavers & Erika Berland

2013
Laban Training — Bryan Doubt

2010, 2013
Barba/Odin training — Roberta Carreri

2009
Grotowski Source Work — Rena Mirecka

2007
Meyerhold Biomechanics — Gennadi Bogdanov (workshop observed)

2003 - 2006
Rasabox technique — M. Minnick & P. Cole (workshops towards certificate)

2003 — present
Pilates — Sasha Welsh and other teachers

2002
Meyerhold Biomechanics — Gennadi Bogdanov (actor training)

1991 — present
Yoga — Richard Schechner, Sally Hess (2 to 5 times/week, Iyengar technique)

1993 - 1995
Suzuki Actor Training — Ellen Lauren/SITI company (3 times/week/2 years)

1991 - 1996
Performance technique, Rasaboxes — Richard Schechner

1988 - 1990
Meyerhold Biomechanics – Ralf Räuker

1988 - 1990
Butoh dance — Yumiko Yoshioka & Minako Seki (2 times/week.

1983 - 1986, 1992
Eugenio Barba — Odin Theater — Christoph Falke, Roberta Carreri

1978 - 1985
Feldenkreis technique & Halprin — Monika Pagneux, Christoph Böhringer

1978 - 1980
Grotowski (Source Theater), Acrobatics — Stephen Oswald

1978 - 1980
Clowning, Mime technique — Django Edwards, Mehmed Fistik

____________

Voice:

2011
Primitive Voice — Jean-Rene Toussaint

1991 -1996
Vocal technique — Rebecca Wilenski-Ortese (Linklater technique)

1988
Voice workshop — Meredith Monk

1985
Roy Hart Technique – Richard Armstrong

____________


Research

Performance: Directing

2017
Dwellings — Floyd Favel, Emilie Monnet
Concordia University, April.

2015
Attawapiskat is no Exception — Floyd Favel - directed reading, Performing Turtle Island/PSI.
First Nations University, University of Regina, September.

2014
Cantata for Missing and Murdered Aboriginal Women
Encuentro, June.

2014
Postcards to Jovette – Ralph Denzer
Café Concrete and other venues. May and July.

Attawapiskat is no Exception – Floyd Favel
Concordia University, April.

2009
Oedipus — Ned Dickens
City of Wine festival, Theatre Passe Murraille, May, Toronto.

Oedipus — Ned Dickens
Concordia University, April.

2006
Lysistrata — Aristophanes
Ramapo College, NJ.

2005
Union/Dissolution — Pallabi Chakravorty/Neuerburg-Denzer
The Painted Bride, PA.
PS 122, PA.
Swarthmore College, PA.
Bryn Mawr College, PA.

2003
I Want a Baby— Sergej Tretyakov
Swarthmore College, PA.

1998
Heimat Revue — Patrick Morris
Theater Zerbrochene Fenster, Berlin.

Mother Courage — Bertolt Brecht
Mainstage, University of California Santa Cruz.

1997
Trojan Women — Seneca
Mainstage, University of California Santa Cruz.

1995
Wartime Rape — Neuerburg/Denzer
Bread & Puppet Theater, VT.

Macbeth — William Shakespeare
N.J. Shakespeare Festival.

Faust, Part 1 — Goethe
NADA Faust Festival, NYC.

1994
Monkey Tamarind Tree — Vernice Miller
PS 122, NYC

Medea Material — Heiner Müller
Müller Symposium, Sydney, Australia.

1993
Purgatory in Ingolstadt — Marieluise Fleisser
Women's Workshop, NYC.

Hamletmachine — Heiner Müller
NADA Hamlet Festival, NYC.

Man to Man — Karge, transl. Neuerburg-Denzer
Workhouse Theater, NYC.

1992
Man to Man — Karge, transl. Neuerburg-Denzer
N.J. Shakespeare Festival.

Medea Material — Heiner Müller
9th Street Theater/CHARAS, NYC.

1991
Medea Fast-Art — Heiner Müller
Bread and Puppet Theater, VT.

1990
Does Not Finish — Neuerburg-Denzer
9th Street Theater, NYC.

1989
Shakespeare Fast-Art — Shakespeare
Theater Zerbrochene Fenster, Berlin.

____________

Acting Performance

Theatre:

Annually since 1989
Bread & Puppet Circus — Peter Schumann, Bread & Puppet Theater, VT.

2015
Dementia Solo
Naropa University, Boulder, CO.

2014
Degenhard Songs — Neuerburg-Denzer
Bread & Puppet Theatre, VT.

2013
Old Dreams New Hope — Roberta Carreri
Odin Teatret, Denmark.

2006
Voyage of the Beagle — Ralph Denzer/Dannenhauer
Bread & Puppet Theatre, VT.

2005
Union/Dissolution — Pallabi Chakravorty/Neuerburg-Denzer
Painted Bride, PA.
PS 122, NY.

2003
Insurrection Mass — Peter Schumann
Bread & Puppet Theater, VT.

2001
Bread & Puppet Circus — Peter Schumann
Bread & Puppet Theater, VT.

1996
Acis and Galatea — Handel/Amy Trompetter
Arts at Saint Ann’s, NYC.

1995
Three Sisters — Chekhov/Richard Schechner
La MaMa, NYC.

Bread & Puppet Circus — Peter Schumann
Bread & Puppet Theater, VT.

1994
Medea Memory Hall — Müller/Neuerburg-Denzer
U.S.W. Sydney, Australia.

AmeriKa — Kafka/Maria Vail Guevara
East Coast Artists, NYC.

FAUSTgastronome — adapted/directed by Richard Schechner
East Coast Artists, NYC.
Tour in England and Scotland.

1993
Hamletmachine — Müller/Neuerburg-Denzer
NADA Hamlet Festival, NYC.

AmeriKa — Kafka/Maria Vail Guevara
East Coast Artists, NYC.

1992-1993
FAUSTgastronome — adapted/directed Richard Schechner
East Coast Artists, NYC.

1991
Go Children Slow — Gabrielle Hamilton
WOW Cafe, NYC.

Bread & Puppet Circus — Peter Schumann
Bread & Puppet Theater, VT.

Medea Fast-Art — Heiner Müller
Bread and Puppet Theater, VT.

1990
Does Not Finish — Neuerburg-Denzer
9th Street Theater, NYC.

Bread & Puppet Circus — Peter Schumann
Bread & Puppet Theater, VT.

1989
Die Letzte Hochzeit — Minako Seki (Tatoeba - Butoh dance)
NYC.

Shakespeare Fast-Art — Shakespeare
Theater Zerbrochene Fenster, Berlin.

Water Show — Joanne Schultz
9th St. Theater/Bread & Puppet Circus, NYC.

Bread & Puppet Circus — Peter Schumann
Bread & Puppet Theater, VT.

1988
Tanzmarathon — Barnaby Gale
Theater Zerbrochene Fenster, Berlin.

Meyerhold’s Biomechanics — Räuker/Neuerburg-Denzer/Freitag
Berlin.

Kunst und Tod: Artaud — Peter Weitzner
Hochschule der Künste, Berlin.

1987
Rimbaud Parade — Peter Weitzner
Hochschule der Künste, Berlin.

Klopfzeichen — Arne Baur-Worch
Theater Zerbrochene Fenster, Berlin.

1986
Entgleisungen — Arne Baur-Worch
Theater Zerbrochene Fenster, Berlin.


Film:

2006
Things To Do With Your Mouth — Melinda Lee
Film projection for dance/theatre

1996
Neuerburg: Theatererfahrung für einen präsenten Menschen — Joachim Polzer
Germany.

1990
Through These Walls — Hamilton/Paternno
WOW cafe, NY.

1989
Tanzmarathon — Gale/Meves
Feature-length film
SFB Berlin, German TV station

1987
Der Himmel über Berlin, Eng. Trans. Wings of Desire — Wim Wenders
“Jogger”
Feature-length film

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Publications

In Progress:

Book Chapters:

“The Making of 'Attawapiskat is no Exception' Stratifications in a Native-Settler Creation Process.” In: Family Dream House, eds. Jill Stevenson, Emily Klein, and Jen Scott Mobley. Projected publication date Spring 2018. University of Iowa Press. In final revision.

Essay for Materialband zu Tretyakov’s “I want a Baby” ed. Eduard Jan Ditschek, Rowohlt Verlag, Germany. Projected publication date Fall 2017. Routledge, NY.

"Whisperings: Devising with Rasaboxes." In: Rasaboxes Sourcebook: Theory, Performer Training and Practice, eds. Paula Murray-Cole, Michele Minnick, and Rachel Bowditch. Proposal accepted. Projected publication date Fall 2017. Routledge, NY.

"Cultural Memory, Mimesis and Emotion: The Staging of 'Attawapiskat is no Exception'" In: Performing Turtle Island: New Essays on Indigenous Theatre and Performance, Regina: University of Regina Press. Projected publication date Spring 2018. Proposal and first draft submitted.

Chapter on Rasaboxes Training for Physical Dramaturgies, ed. Rachel Bowditch. Routledge, NY. Proposal accepted. No timeline yet.

Book:

2016
Neuerburg-Denzer. Rage and Rapture: Performance Training in the Rasaboxes.
Publication with Rodopi/Brill, Series editor: Daniel Meier Dinkgräfe. Summer 2018.

Favel, Floyd. Attawapiskat is No Exception. Play. Ursula Neuerburg-Denzer: introductory essay and co-editor. Book proposals are in review with Playwrights Canada.

Published:

Book:

2011
From Rape to Rapture: The Art of Performing Emotion. PhD thesis, July. Online.
Read it here.

Book Chapters:

2014
“High Emotion: Training in the Emo Lab.” In: New Essays in Canadian Theatre, Vol. 5: Theatre of Affect, ed. Erin Hurley, Toronto: Playwright Canada Press, May.

2013
“German Women Stage Director.” In: International Women Stage Directors, eds. Anne Fliotsos and Wendy Vierow, University of Illinois Press.

Journal Articles:

2011
“Jocasta – Faking Suicide. Rasabox exercises in contemporary adaptation of Oedipus.” In: Theatre, Dance and Performance Training, London: Routledge, Vol 2, No 2, Fall.

2008
“Emotions in Performance: Between Rape and Research Lab.” In: In-Tensions, Aesthetics of Affliction, online Journal, No.1, Spring.
Read full article here.

Book Review:

2015
David Mroz “The Dancing Word: An Embodied Approach to the Preparation of Performers and the Composition of Performances”, In: alt.theatre, Vol 12 No.1.

Translations:

1999
Brecht +- Müller, Stefan Mahlke. In: The Drama Review , Brecht Issue, 1999.

1994
Augusto Boal & Jacob L. Moreno, by Daniel Feldhandler. In: Playing Boal. Mady Schutzman and Jan Cohen-Cruz, Editors, Routledge, London/NY.

1993 & 1994
Man to Man/Jacke wie Hose/Same Difference, a play by Manfred Karge, performed in NYC and at NJ Shakespeare Festival 1993 & 1994, unpublished.


____________

Peer-reviewed Conference/Symposia Presentations

Papers presented:

2017
CATR Executive Meeting: Invited Presentation on new CATR working group, On Campus Peer Review.
Seminar: Terra Nullius: charting paths to settler/Indigenous relationships through theatre and performance in academic contexts. Paper submitted: "Entering Dwellings: a Way into a Creation Process", co-presentation U. Neuerburg-Denzer and L. Ndejuru
Seminar: Decolonizing Methodologies and Settler Responsibility in Theatre and Performance Studies. Paper submitted: "Emotion, Mimesis and Cultural Memory Acknowledging Genocide in Performance"

ILSA, Silesia, Indigenous Expressions of Culture in Storytelling, Drama, Theatre and Performance – Traditional and Contemporary Canadian and Polish Upper Silesian Perspectives. Paper co-presented with Emelie Monnet: "Making Dwellings".

2016
IFTR, Stockholm, International Association for Theatre Research, Political Theatre Working Group, Paper presented: "Dwellings - the Meaning, Loss and Promise of Home for First and Other Peoples - Theatre within the Indigenous/Settler Relationship"

CATR, Decolonizing Theatre and Performance, Facilitators: Jill Carter, Paper given: "Dwellings: Approaches to Decolonization through Collaborative Performance Creation"

CATR, Campus Performance, third year participant

CATR, Energizing the Acting Community, facilitator. Paper given: “Acting in the Academy”

2015
Performing Turtle Island. PSI Satellite conference in Regina SK. Directed Reading of Attawapiskat is no Exception. Invited Artists. September.

ATHE, “Emotion and Memory, Mimesis and Memory, or Cultural Memory” presented as part of Moving Memory: Trauma in Training and Performance with Chelsea Pace, Rachelle Tsachor, and Tom Truss.

CATR, Acting Training in a Shifting World, conference facilitator. “Exercises, Training, Warm-Ups, and Preparations – Research in the Emo-Lab, and Experimental Studio Class.”

Actor Training in a Shifting World 2, Teachers Canada, Symposium, University of Victoria, Co-organizer w/ Conrad Alexandrowicz.

2014
IFTR, International Association for Theatre Research, General Panel. Paper presented: “The Making of “Attawapiskat is no Exception”: In the Spirit of Protest.”

ATHE, Association for Theatre in Higher Education, Dream House Panel, convener Jill Stephenson. Paper presented: ‘“Attawapiskat is no Exception” Positions, Implications and Affective Responses.”

Friedrich Wilhelm Universität Erlangen-Nürnberg. Invited talk as DAAD scholar. “Practice and Research at Concordia’s Department of Theatre”

Encuentro, Hemispheric Institute, Working group participant: Performance as Treaty; The (En)treaty of Gesture. Conveners: Natalie Alvarez, Stephen Johnson, Beatriz Pizano, Trevor Schwellnus. Paper presented: “Performance as Treaty: Attawapiskat is no Exception.”

CATR, Canadian Association for Theatre Research, participation in 2 working groups with prior paper exchange (see working groups).

2013
FIRT/IFTR, International Association for Theatre Research, Barcelona, paper presented: “Affecting Bodies on Karin Beier’s Stage” in conjunction with book launch for International Women Stage Directors.

CATR, Canadian Association for Theatre Research, 2 Working Groups, “University Student Productions: Between Teaching Tools and Artistic Creations” and “No Happy Endings: What can applied theatre really do?”

2012
CATR, Canadian Association for Theatre Research, Working Group: Affect/Canada/Theatre, convener Erin Hurley, McGill. Paper submitted: “The Affect Emotion Feeling Triad.”

History, Memory, Performance Conference, Interdisciplinary Conference hosted by Dep. of Theatre, U. of Ottawa, Working Group: Original Practices and Innovation.

1st Rasa Symposium, hosted by Cornell University and Ithaca College, Ithaca NY, Invited Speaker, Paper given: “High Emotion: Rasabox Exercises in the Emo Lab.”

2011
CATR, Canadian Association for Theatre Research, Working Group: Affect/Canada/Theatre. Paper submitted: “Playing the Passions, A Search for Affective Labor on the Scottish Moors of Joanna Baillie.”

2009
ASTR, American Society for Theatre Research, Working Group: Emotional Cartographies. Paper submitted: "A Journey to Thebes: Emo Lab, Rehearsal and Performance."

2008
Canadian Society for Eighteenth Century Studies, Annual Conference, McGill. Paper given: "Eighteenth Century Passions".

2007
PSI, Performance Studies International Conference 13, NYU. Paper given: "Affect Emotion- Rasa: Experiences from the Emo-Lab"

2007
ADSA, Australian Association for Theatre, Drama and Performance Studies, Annual Conference, "Emotion in Performance: Awareness - Fear - Control - Contagion".

2006
Graduate Colloquium – Körperinszenierungen – Freie Universität, Berlin. Paper given, “Emotion Theories and Rasaesthetics”.

2005
Graduate Colloquium – Körperinszenierungen – Freie Universität, Berlin. Paper given: “Emotion Theories and Rasaesthetics”.

NYU Alumni Weekend, 25 Years Performance Studies, talk at the “‘90’s panel”.

Asian Arts Initiative – Painted Bride Arts Center, Philadelphia. Panel speaker.

Swarthmore College – Faculty Lecture: “Emotion Research and the Craft of Acting”.

2004
Graduate Colloquium – Körperinszenierungen – Freie Universität Berlin. Paper given: “Emotion Theories and Rasaesthetics”.

2003
Graduate Colloquium – Körperinszenierungen – Freie Universität Berlin. Paper given: “Meyerhold, Tretyakov, Eisenstein: Emotions, Biomechanics and Expressive Movement”

Marvin Carlson Seminar, Freie Universität, Berlin. Paper given: “Sasha Waltz and Judith Butler: How Bodies Matter”.

2001
Swarthmore College, Faculty Lecture: “Tretyakov’s “I Want a Baby”

1999
Performance Studies International Conference, “Performing Ethnicity and the Self,” paper in collaboration with Jennifer Chan, Aberystwyth, Wales.

1995
Heiner Müller Symposium, Univerity of New South Wales, Australia “Medea Material”.

Shakespeare Symposium at New Jersey Shakespeare Festival, “Casting Macbeth for Nine; Double, Cross and Blind”.

____________

Invited Speaker/Artist

2016 Aesthetic Network: Evaluating Methods of Aesthetic Enquiry across Disciplines.
Workshop 2: Neuro-Cognitive Approaches to Aesthetics in Art: Expertise – Complexity, Vienna April 7-9. Invited workshop Participant.

2015
Performing Turtle Island. PSI Satellite conference in Regina SK. Directed Reading of Attawapiskat is no Exception. Invited Artists. September.

2014 Friedrich Wilhelm Universität Erlangen-Nürnberg. Invited talk as DAAD scholar. “Practice and Research at Concordia’s Department of Theatre”.

2013
“Coffeehouse Chronicles # 116: Richard Schechner and East Coast Artists” presented as former company member and Rasaboxes trainer.
Demonstration of Rasaboxes Exercises
La Mama Theatre, NYC, November 10th.

2012
1st Rasa Symposium
Invited Speaker, Paper given: “High Emotion: Rasabox Exercises in the Emo Lab.”
Cornell University and Ithaca College, Ithaca, NY.

____________

Conferences observed

2011
ASTR (American Society for Theatre Research), annual conference, Montreal.

2004
PSI, Performance Studies International conference, Brown University.

“Performing Ecstasy” — Symposium on Krishna worship in dance drama, poetry and architecture, Swarthmore College, participant/observer.

2002
Conference on Modern Dance in Poland – Bytom, observer.

2001
Kathak Dance Conference, Swarthmore College, observer.

1992
PSI, Performance Studies International.

____________

Working/Research Groups

2017
Le PARC – Performing Arts Research Community at Concordia University

2016
Directing in the Academy – continued working group from CATR 2013, 2015 on position and evaluation of scholar/directors directing within the university

2015
Acting Training in a Shifting World, continuation of 2014.

CATR, Actor Training panel.

2015 Directing in the Academy – continued working group from CATR 2013 on position and evaluation of scholar/directors directing within the university

Acting Training in a Shifting World, continuation of 2014 CATR Actor Training panel, Symposium at U of Victoria, BC, in March 2015, with participants from across Canada, and Seminar at CATR Ottawa, co-convened by Conrad Alexandrowicz and myself.

2014
Performance and Research – IFTR, Warwick

Performance as Treaty – Encuentro –conveners Natalie Alvarez, Stephen Johnson, Trevor Schwellnus, Luz Beatriz Pizano

2014 — ongoing
Practice as Research, convener Bruce Barton, CATR

2014 — ongoing
Roundtable and ensuing Working Group Actor Training in Canada – conveners Diana Belshaw, David Fancy, CATR

2013
Bi-annual Meeting for Certified Rasabox Instructors: host and convener Ursula Neuerburg-Denzer, Concordia University.

2011 - 2012 Affect/Theatre/Canada, working group convened by Erin Hurley, CATR

2010 - 2011
Baillie’s Witchcraft, PI Patrick Leroux, Creative Writing

2006 — ongoing
Emolab, convener/researcher

2008
Intercultural, Matralab, participant

2007
Emotion Research group, participant

2006
Matralab, guest

2005
Writing Workshop, Ramapo College of New Jersey, participant

Second Language, Workshop, Ramapo College of New Jersey, participant

2003 - 2005
German Speakers Work Group, Swarthmore College, guest

1998
University of California Performance Research Group Meeting at UC Santa Barbara, participant

1997
University of California Performance Research Group Meeting at UC Santa Cruz, participant

1996
Pre and Early Modern Studies Faculty Research Group, UC Santa Cruz, guest

____________

Artist Workshops given

2015
ATHE, 2-part workshop. Part of the Association of Movement Teachers (ATME)Priming the Rasaboxes: Physical Intensification through Applications of Experiential Anatomy.
Part 1 Priming the Rasaboxes: Physical Intensification through Applications of Experiential Anatomy.
Part 2: Devising and Whispering: Rasaboxes Applied – Both sessions co-taught with Joan Bruemmer

2013
University Erlangen/Nürnberg, Rasasbox intensive 2 week workshop/class.

2012
Rasa Symposium, Rasabox Workshop co-taught with Paula Cole and Michele Minnick, Ithaca College and Cornell University, Ithaca, NY.

2010
ALAT, A Laboratory for Actor Training, annual symposium: “In the Throws of the Thaw,” Laboratory Leader: Rasabox Training.

CATR, Canadian Association for Theatre Research, annual conference, Concordia University, Workshop Leader: Rasabox Workshop/Emotion Lab.

____________

Membership in Professional Associations:

CATR, Canadian Association for Theatre Research, 2011 —

IFTR, International Association for Theatre Research, 2013 —

HEMI, Encuentro bi-annual conference of the Hemispheric Institute, 2014 —

ATHE, Association for Theatre in Higher Education, 2014 —

ATME, Association for Movement Educators, 2013 —

ASTR, American Society for Theatre Research, 2007, 2011.

PSI, Performance Studies International, 1992, 1999, 2004, 2007, 2015.

ADSA, Australian Association for Theatre, Drama and Performance Studies, 2007.

____________


Academic Services

Academic Services at Concordia University, 2006 —
Department Committees

2016 - 2017
PERC Area Coordinator and Academic Advisor

Winter 2014, 2015
Major in Theatre Area Coordinator and Academic Advisor

2013 — present
Advisory Committee on Issues of Equity and Diversity

2012 — present
Graduate Program Steering Committee

2012 — present
Curriculum Committee/BFA Steering Committee

2011 — present
Research Ethics Committee

2011
New Tenure-Track Search in voice, Search Committee

2011 - 2014
Part-Time Hiring Committee 2009 (alternate for E. Mongerson)

2009 - August 2013
TPER Area Coordinator and Academic Advisor

2008 - 2011
Fine Arts Faculty Council

2007 - 2011, 2013
Awards Committee

2007 - 2008
Alumni Cabaret Committee

____________

Facilitator

Concordia University, Montreal

2013 — present
60 X 60
Annual performance event shared between the Departments of Music, Dance and Theatre

2012 — present
Peter Schumann and Bread and Puppet
Visit, class, student residency and performance facilitator

2010 — present
Friedrich-Alexander-Universität Erlangen-Nürnberg and Concordia University Exchange facilitator

____________

Faculty Committees

Concordia University, Montreal.
2015
Research Chair Oral Histories Performance Search Committee

2012 - 2014
Encuentro Committee

2012 - 2014
CISSC Advisory Board

2012, 2014
Dance Tenure Track Search Committee

2007 - 2010
Faculty of Fine Arts Research Advisory Committee

2007 - 2008, 2014 - 2015
Dance Chair Search Committee

2008 — present
Theatre Chair Search Committee

____________


Ramapo College

2005 - 2006
Convening Group Theatre

Fine Arts Faculty Council

All University Faculty Council


Swarthmore College

2003 - 2005
German Studies Committee

2004 (calendar year)
Acting Chair

2004
Committee of Chairs in the Humanities

Grant-Giving Committee

2001 - 2002
Dormitory Building Committee

2000 - 2002
Cooper Grant Committee

1999 - 2005
All Faculty Council