{"id":1035,"date":"2025-02-03T15:30:39","date_gmt":"2025-02-03T15:30:39","guid":{"rendered":"https:\/\/subsolardesigns.com\/odrin_theme\/?page_id=1035"},"modified":"2026-08-22T16:14:37","modified_gmt":"2026-08-22T16:14:37","slug":"resume","status":"publish","type":"page","link":"http:\/\/davidkrasner.com\/Newd\/resume\/","title":{"rendered":"Resume"},"content":{"rendered":"\t\t
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Dr. David krasner<\/h2>\t\t\t\t<\/div>\n\t\t\t\t
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11 Brothers Court, Dix Hills NY 11746
Office: (631) 271-0271; cell & text (203) 668 6910
KrasnerD@aol.com www.davidkrasner.com LinkedIn\/David Krasner<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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Academic Professional with over fifty years of experience in teaching acting and history.<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Professional Academic Experience<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Chair of Theatre, Five Towns College<\/strong>\u00a02018 \u2013Present<\/p>

  • Program with a B.F.A in Acting and Musical Theatre<\/li>
  • Producing Director of All Shows<\/li>
  • Head of Acting<\/li><\/ul>

    Visiting Professor, Tufts University\u00a0<\/strong>Fall, 2017
    \u2022 Teaching Graduate Seminar in African American Theatre<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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    Professor & Dean of the School of the Arts, Dean College\u00a0<\/strong>2012 \u2013 2017
    \u2022 Operating a 1 million dollar annual budget (which includes operational costs and salaries)
    \u202265K theatre production budget, allocating four productions; overseeing three programs (Theatre, Communications, and Arts and Entertainment Managements) and two arts course offerings (Art & Music); working with the development department on grants and fundraising
    \u2022 Overseeing a faculty of six fulltime, three parttime, and multiple adjuncts; work under the Vice President of Academic Affairs; member of the College\u2019s Academic Council
    \u2022 Serving on various committees for the betterment of the College in areas of faculty governance and student recruitment
    \u2022 Initiated the senior showcase in New York for agents and casting directors<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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    Education:<\/strong><\/em><\/p>

    (1996) Ph. D., Tufts University \u2013 Dissertation: \u201cResistance Parody, and Double Consciousness in African American Theatre\u201d<\/p>

    (1990) M.F.A., Virginia Commonwealth University \u2013 Thesis: \u201cEveryman: A Dramaturgical Analysis\u201d<\/p>

    (1974) B.F.A., Carnegie Mellon University \u2013 Acting<\/p>

    (Student of Jewel Walker, Edith Skinner, Israel Hicks, B. H. Barry, John Pasquin, Larry Carra, Leon Katz, James Rosenberg, Moshe Feldenkrais, Morty Lawner, Earle Gister)<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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    Professional Training:<\/strong><\/em><\/p>

    Acting Classes with Paul Mann, Kim Stanley, Barbara Loden, Stella Adler (attended lectures on text analysis), Morty Lawner (Meisner Technique)
    Studied Alexander Technique at the Alexander Technique Center (NY) and then private lessons w\/ Pam Anderson
    Studied with Moshe Feldenkrais (NY)<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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    Associate Professor,Head of Acting, Emerson College\u00a0<\/strong>2007 – 2012
    \u2022 Curriculum and Faculty promotion and tenure (9 fulltime faculty, multiple adjuncts)
    \u2022 Recruitment, retention, and faculty governance<\/p>

    Yale University<\/strong>
    Associate Prof.<\/strong>\u00a0(Adj.) – English, Theater Studies, African American Studies 1997-2007<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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    Director of Undergraduate Theater Studies (1997-2003)<\/strong>
    \u2022 Undergraduate curriculum and faculty governance; policy agendas.<\/p>

    Visiting Professor, Tufts University\u00a0<\/strong>2004
    \u2022 Graduate Instructor of African American Theatre<\/p>

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    Assistant Professor of Theatre, University of Idaho\u00a0<\/strong>1993-1995
    \u2022 Instructor of theatre history, acting, and directing<\/p>

    Instructor, American Academy of Dramatic Arts (NY)\u00a0<\/strong>1978-1987
    \u2022 Acting (beginning and advanced)
    \u2022 Voice, speech, and movement
    \u2022 Feldenkrais & Alexander Technique<\/p><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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    Membership in Professional Associations:<\/strong><\/em><\/p>

    Actors Equity
    Screen Actors Guild
    AFTRA
    Lifetime Member of the American Theatre and Drama Society<\/p><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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    NYC Training:<\/strong><\/em><\/p>

    Acting Classes with Paul Mann, Kim Stanley, Barbara Loden, Stella Adler (attended lectures on text analysis), Morty Lawner (Meisner Technique)
    Studied Alexander Technique at the Alexander Technique Center and then private lessons w\/ Pam Anderson<\/p><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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    Directing<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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    Plays Directed at Five Towns College<\/strong>
    Machinal, 2024
    Cost of Living, 2023
    Almost Sunshine, 2023 (original play by Grant MacDermott)
    Fool for Love, 2023
    Motherfucker with the Hat, 2022
    As You Like It, 2022
    Five Women Wearing the Same Dress, 2021
    Glengarry Glen Ross, 2021
    Hedda Gabler, 2020 (my translation, view on Davidkrasner.com)
    The Laramie Project, 2019
    Midsummer Night\u2019s Dream, 2019
    Play Directed at Dean College<\/strong>
    DNA, by Dennis Kelly, 2013
    Plays Directed at Emerson College<\/strong>
    As You Like It (Greene Theatre, 2008)
    Pancake Stories (Greene Theatre, 2008), an adaptation from the short stories of Breece D\u2019J Pancake<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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    Plays Directed as YaleUniversity:<\/strong>
    Fool for Love(April 1998)
    The Independence of Eddie Rose, by William S. Yellow Robe, Jr., Yale University Undergraduate Program (Oct., 1998) (see the publication, Seventh Generation: An Anthology of Native American Plays, p. 43, which notes this performance)
    HeddaGabler (Feb. 1999)
    Top Girls (March 2002)
    Plays Directed at Southern Illinois University:<\/strong>
    Into the Woods (Spring 1996)
    Angels in America, Part 1, (Fall, 1996)
    Plays Directed at the University of Idaho:<\/strong>
    As You Like It (1994)
    Miss Julie (1995)
    Plays Directed at the American Academy of Dramatic Art:<\/strong>
    Journey of the Fifth Horse (1985)
    Journey to the Day (1984)
    Under Milkwood (1983)
    SzweiBanzi is Dead (1982)
    Drums in the Night (1981)
    Bintel’s Brief (original adaptation) (1980)
    The Right Honorable Gentleman (1979)
    Story Theatre (1978)<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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    Editorial Advisory Board<\/h5>\t\t\t\t<\/div>\n\t\t\t\t
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    Stanislavsky Studies (2014 – )
    African American Review (since 1995)
    Theatre Annual (1997-2010)
    Text & Presentation: Journal of the Comparative Drama Conference (2000-2010)
    Theatre Journal (2003-2018)
    Theatre Survey (2004-2006)
    New England Theatre Journal (since 2005)
    ProQuest (online)
    Literary Encyclopedia (online)<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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    Teaching Awards & Honors<\/h5>\t\t\t\t<\/div>\n\t\t\t\t
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    The Harvey Young Award<\/strong>\u00a0for Academic Leadership, Sustained Achievement Award Winners 2025.<\/p>

    Lorraine Kleinman Memorial Award\u00a0<\/strong>for Excellence in Teaching, Five Towns College, 2024.<\/p>

    Betty Jean Jones Award<\/strong>\u00a0from the American Theatre and Drama Society, 2008, for the best teacher of American theatre and drama.<\/p>

    Twice recipient of the\u00a0Errol Hill Award<\/strong>\u00a0from the American Society for Theatre Research (1998, 2002), for the best book on African American Theatre.<\/p>

    Dow Scholar<\/strong>, Michigan State University at Saginaw, April 2003.<\/p>

    Received $2000 Grant to teach an\u00a0Honors Seminar<\/strong>, “Women in Theatre,” at the University of Idaho, 1995.<\/p>

    Hilles Fund<\/strong>\u00a0(Yale University) six times awarded funds for conference support.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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    Representative Sample of Roles<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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    2024\u00a0<\/strong>Walk Away, short film, Dean Fishbein, Hardball Productions, LLC, NY
    2011<\/strong>\u00a0Eddie Carbone, A View from the Bridge, Buzzards Play Production, Wareham, MA
    The performance can be seen on YouTube
    (DavidKrasner.AViewfromtheBridge)
    2009<\/strong>\u00a0Ernest in Bedroom Farce, by Alan Ayckbourn, Plymouth Community Theatre
    2008<\/strong>\u00a0Staged Reading for Blue Fire on the Water, a play about the Katrina Crisis, BostonCenter for the Arts, dir. Maureen Shea
    2007<\/strong>\u00a0Staged Reading of TheWaldorf Conference, role of Harry Cohn, Emerson Stage, dir. Maureen Shea
    1988-1990<\/strong>\u00a0MFA Program in Acting (VCU) (sample of roles)
    Boyet inLoves Labor\u2019s Lost
    Donald in Christopher Hampton\u2019s The Philanthropist
    1987<\/strong>\u00a0Within the Year, original play by Sheila Walsh, at the American Theatre for Actors, 314 W 54th St. NY, leading role opposite Catherine Burns, Academy Award nominee.
    1986<\/strong>\u00a0Peter in The Wise Have Not Spoken, by Paul Vincent Carroll, 18th St.Playhouse, New York
    1885<\/strong>\u00a0Lorenzo in The Merchant of Venice, The Jewish Repertory Theatre
    Son in an (NYU) Independent Film, Going to War
    1984<\/strong>\u00a0Gloves, an original play by me, 28th St.Playhouse, New York<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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    1983\u00a0<\/strong>Roy, in Domino Court, Ensemble Studio Theatre, New York
    1980<\/strong>-2 Actor member of the company of the New York Theatre Exchange
    Sample of major roles \u2014
    Andy Kragler, in Brecht\u2019s Drums in the Night
    Andy Mayo in O\u2019Neill\u2019s Beyond the Horizon
    1979\u00a0<\/strong>National Television commercial for Enderin, an aspirin product
    1978<\/strong>\u00a0Baal, in Brecht\u2019s Baal, New York Theatre Workshop\/Wonderhorse Theatre
    1977\u00a0<\/strong>Ensemble in Megan Terry\u2019s Comings and Goings (touring)
    1976<\/strong>\u00a0The Son in Drew Kalter\u2019sThe Farewell Party, an original play, The Theatre for the New City (Jane St.)
    1975<\/strong>\u00a0Original Children\u2019s Musical, Try Not to Love Such a Country, The New Federal Theatre, New York
    1974\u00a0<\/strong>Stanley Kowalski, A Streetcar Named Desire, Pittsburgh Summer Playhouse\/Red Barn Theatre, directed by Norman Rene (director of Prelude to a Kiss)
    1973<\/strong>\u00a0Alabama Shakespeare Festival:
    Don Juan in Much Ado About Nothing
    Macduff in Macbeth
    Corin in As You Like It<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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    Sample of Classes Taught<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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    Acting & Directing (Advanced, Intermediate, Beginner \u2013 Graduate and Undergraduate level)
    Voice & Speech (nine years at the American Academy of Dramatic Arts)
    Shakespeare: advanced seminars in acting and directing
    Theatre and Philosophy: advanced seminar on the intersection of theatre and philosophy
    Dramatic Theory and Criticism: advanced seminar from the Greeks to the present
    African American Theatre, Drama, and Performance (Graduate and Undergraduate): advanced seminar from minstrelsy\/African Grove Theatre to the present, examining drama and performance studies<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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    Survey of Theatre and Drama: introductory lecture course, history of theatre and examining selected dramatic literature and performance
    Five American Playwrights: advanced seminar on Mamet, Shepard, August Wilson, Kushner, and Vogel
    Five British Playwrights: advanced seminar on Pinter, Stoppard, Bond, Churchill, and Sarah Kane
    Ibsen, Strindberg, and Chekhov: advanced seminar on the playwrights and their impact on modern drama
    Expressionism: advanced seminar examining German Expressionism and Brecht, and their influence on American Expressionism.
    Edward Albee: advanced seminar<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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    Scholarly Articles in Journals<\/h5>\t\t\t\t<\/div>\n\t\t\t\t
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    \u201cExpectation, Melancholy, and Loss: Funnyhouse of a Negro and Dutchman in the Year 1964,\u201d Theatre Journal 71 (March 2019): 49-67.
    \u201cHarold Pinter and Postmodern Jewish Philosophy,\u201d Modern Drama 56.4 (Winter 2013): 498-520.
    \u201cThe Genius of Bob Cole,\u201d African American Review 44.1-2 (Spring\/Summer 2011): 9-11.
    \u201cDark Tower and the Saturday Nighters: Two Directions in African American Drama,\u201d American Studies 49: 1\/2 (Spring-Summer 2008): 5-30.
    “African American Theatre: State of the Profession,” special 50th anniversary issue, Theatre Survey 47.2 (November 2006): 191-2.
    “The Theatre of Shepard Randolph Edmonds,” New England Theatre Journal 16 (2005): 21-42.
    “Forum on African American Theatre,” Theatre Journal 57.4 (December 2005): 585-87.
    “What is a Black Play: American Theatre and African Diaspora,” conducted by Harry Elam, Text and Presentation: The Journal of Comparative Drama 24 (2003): 161-191.
    “Migration, Fragmentation, and Identity: Zora Neale Hurston’s Color Struck and the Geography of the Harlem Renaissance.” Theatre Journal 53.4 (December 2001): 533-550.
    “Deviancy in a Deviant Society: The Labeling Process in Miguel Pi\u00f1ero’s Short Eyes.” Text & Presentation: The Journal of Comparative Drama 19 (1998): 70-9.
    “Walter Benjamin and the Lynching Play: Allegory and Mourning in Angelina Weld Grimk\u00e9’s Rachel.” Text & Presentation: The Journal of Comparative Drama 18 (1997): 64-80.
    “Re-writing the Body: Aida Overton Walker and the Social Formation of Cakewalking.” Theatre Survey 37.2 (November 1996): 66-92.
    “‘The Mirror Up To Nature’: Modernist Aesthetics and Racial Authenticity in African American Theatre, 1895-1900.” Theatre History Studies 16 (June 1996): 117-140.
    “Whose Role Is It, Anyway?: Charles Gilpin and the Harlem Renaissance.” African American Review 29.3 (Fall 1995): 483-496.
    “Realism in Theory: Ibsen’s Silent Debt to Hermann Hettner.” Text & Presentation: Journal of the Comparative Drama Conference 26 (1995): 61-66.
    “Parody and Double Consciousness in the Language of Early Black Musical Theatre.” African American Review 29.2 (Summer 1995): 317-323.
    “Theory, Contrast, and Opposition: Hermann Hettner\u2019s Das Moderne Drama and the Hegelian Dialectic.” Text & Presentation: Journal of the Comparative Drama Conference 25 (1994): 47-52.
    “The Symbolic Function of Sleeping and Awakening in Chekhov\u2019s Uncle Vanya.” Theatre Studies 39 (1994): 5-18.
    “Charles S. Gilpin: The Actor before the Emperor.” The Journal of American Drama and Theatre 4.3 (Fall 1992): 62-75.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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    Scholarly Articles in Books<\/h5>\t\t\t\t<\/div>\n\t\t\t\t
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    \u201cKant, Ibsen, and the Categorial Imperative,\u201d Philosophy, Analytic Aesthetics, and Theatre, Michael Y. Bennet, ed., Routledge, 2025.
    \u201cForward,\u201d The Problems of Viewing Performance: Epistemology and Other Minds, by Michael Y. Bennett, Routledge Press, 2021, xiv-xviii.
    \u201cDrama in the 1960s,\u201d Cambridge Companion to American Literature: 1960s, forthcoming, 2018.
    \u201cForward,\u201d Acting in the Academy: The History of Professional Actor Training in US Higher Education, by Peter Zazzali, Routledge, 2017.
    \u201cStanislavsky\u2019s System, Sense\/Emotion Memory, and Physical Action: American Interpretations of the System\u2019s Legacy,\u201d The Routledge Companion to Stanislavsky, Andy White, ed., Routledge 2013.
    \u201cThe Real Thing,\u201d Beyond Blackface, University of North Carolina Press, ed. W. Fitzhugh Brundage, 2011.
    “Method Acting: Strasberg, Adler, Meisner,”Twentieth-Century Actor Training, Alison Hodge, ed. London: Routledge, 2010, 2nd edition.
    “Coming-of-Age on the Rez: William S. Yellow Robe’s The Independence of Eddie Rose and the Native American Bildungsdrama,” Native American Drama, edited by S. Wilmer, University of Arizona Press, 2009.
    “Jitney,” The Cambridge Companion to August Wilson, ed. Chris Bigsby, Cambridge UP, 2007, 158-168.
    “Early Black Female Dramatists,” an Introduction to African American Female Dramatists, ed. Philip Kolin, Routledge, 2007, 9-27.
    “Calamity,” an Introduction to essays on Considering Calamity: Methods for Performance Research, ed. Linda Ben-Zvi& Tracy C. Davis, Tel Aviv: Assaph Books, 2007, 1-12.
    “Drama of the Harlem Renaissance,” The Cambridge History of the Harlem Renaissance, ed. George Hutchinson, CambridgeUniversity Press, 2007, 57-70.
    \u201cStonewall, ‘Constant Historical Progress,’ and Angels in America: The Neo-Hegelian Positivist Sense,” Tony Kushner: New Essays on the Art and Politics of the Plays, ed. James Fisher, McFarland 2006, 98-111.
    “Empathy and Theater,” Staging Philosophy: New Approaches to Theater and Performance, edited by David Krasner and David Z. Saltz, University of Michigan Press, 255-77.
    \u201cIntroduction,\u201d Staging Philosophy (co-writer), see above.
    “EugeneO’Neill: American Drama and American Modernism,” Blackwell Companion to Twentieth-Century American Drama, Krasner, ed. London: Blackwell, 2005, 142-158.
    \u201cIntroduction,\u201d Blackwell Companion to Twentieth-Century American Drama, see above.
    “Dialogics and Dialectics: Bakhtin, Young Hegelians, and Dramatic Theory,” Bakhtin: Ethics and Mechanics, edited by Valerie Nolan, Northwestern University Press, 2004: 3-31.
    “Black Salome: Exoticism, Dance, and Racial Myth,” and “Afterward: Change is Coming,” African American Performance and Theater History: A Critical Reader, Elam & Krasner, ed. (Oxford, 2001): 192-211, 345-350.
    “Method Acting: Strasberg, Adler, Meisner,”Twentieth-Century Actor Training, Alison Hodge, ed. London: Routledge, 2000, 129-50 (1st edition).
    “I Hate Strasberg: Method Bashing in the Academy,” an Introduction to Method Acting Reconsidered, Krasner, ed. (St. Martin’s 2000): 1-40.
    “‘The Pageant Is the Thing’: Black Nationalism and The Star of Ethiopia,” Performing America, J. Ellen Gainor and Jeffrey Mason, ed., University of Michigan Press, 1999, 106-22.
    Biographical Entries of Bob Cole and Will Marion Cook in American National Biography. OxfordUniversity Press, 1999, (Cole) 203-4, (Cook) 390-1.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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    Letters to the Editor, Interviews<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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    \u201cWhose Method?\u201d\u00a0<\/strong>Times Literary Supplement, 29 October 2010: 6.
    \u201cThe Ones Who Came First,\u201d\u00a0<\/strong>New York Times, 25 Jan. 2009: 2, 38.
    “Classic Fours,”\u00a0<\/strong>New York Times, 6 March 2005, Art Section, 4.
    “Behind the Blackface,”<\/strong>\u00a0Letter to the Editor, American Theatre, April 2004: 3.
    “Grotowski: Hardly an Exception,”\u00a0<\/strong>Letter to the Editor, New York Times, Arts and Leisure, 27 August 2000, 2.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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    “Method Acting and Shakespeare,”\u00a0<\/strong>Letter to the Editor, Chronicle of Higher Education, September 3, 1999, B13.
    “Should Peer Gynt Also Be Denied?”<\/strong>\u00a0Letter to the Editor, New York Times, Sunday, 2 February 1992, Arts & Leisure Section.
    “Stupid Plays and Other Things,\u201d<\/strong>\u00a0Letter to the Editor, TDR 39.4 (Winter 1995): 14-15.
    Interview:\u00a0“Charlotta Kauffman – Actress in According to Coyote.” Native Playwrights”\u00a0<\/strong>Newsletter 3 (Fall 1993): 9-12.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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    Conference Papers<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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    \u201cJazz Acting,\u201d\u00a0<\/strong>Univ. of Kansas, September 29, 2007, invited speaker to the graduate symposium.
    \u201cAaron Douglas and the Arts of the Harlem Renaissance,\u201d\u00a0<\/strong>Univ. of Kansas, September 30, 2007, invited speaker.
    \u201cTell Your Story: The Legacy of August Wilson,\u201d\u00a0<\/strong>Univ. of Maryland, March 2007, invited speaker.
    \u201cAugust Wilson in Retrospective: A Circumscribed Black Space,\u201d\u00a0<\/strong>Modern Language Association, 2006.
    \u201cPublishing American Society”\u00a0<\/strong>for Theatre Research, 2006
    \u201cPublishing for Senior Scholars,\u201d\u00a0<\/strong>Association for Theatre in Higher Education, 2006
    All-Conference Respondent for a conference on\u00a0“Calamity,”\u00a0<\/strong>sponsored by NorthwesternUniversity (by invitation), September-October, 2005.
    “Directing and Theory,”\u00a0<\/strong>Association for Theatre in Higher Education, 2005.
    \u201cStonewall, ‘Constant Historical Progress,’ and Angels in America: The Neo-Hegelian
    Positivist Sense,”<\/strong>\u00a0Conference on American Drama, Kansas City, March 3-5, 2005
    “Authenticity and Experience: Zora Neale Hurston’s ‘Characteristics of Negro Expression’ (1934) and Black Performance,”<\/strong>\u00a0Association for Theatre in Higher Education, 2004.\u00a0“Fresh Prints”\u00a0<\/strong>series (by invitation).
    “Avant Garde Now!”<\/strong>\u00a0Association for Theatre in Higher Education, 2004.
    Presiding Chair (2 Panels)\u00a0\u201cRealism and Anti-Realism in American Drama,\u201d<\/strong>Modern Language Association, December 2004. Also, liaison to Modern Language Association for the American Society for Theatre and Drama.
    Presiding Chair and Respondent:\u00a0“Modernism and American Drama and Theater,”<\/strong>\u00a0Modern Language Association, 27 December 2003. Also, liaison to Modern Language Association for the American Society for Theatre and Drama.
    “Jumping at the Sun: Reassessing the Life and Works of Zora Neale Hurston,”<\/strong>\u00a0BarnardCollege, Oct. 2-5 2003(by invitation).
    “Performers and the Harlem Renaissance,”<\/strong>\u00a0Chicago Humanities Festival: The Life of Eubie Blake, June 21-26, 2003 (by invitation\u2014I also served the festival for a week as daily guide, introducing speakers and moving the proceedings along).
    “African American Theatre: A Roundtable Discussion,”\u00a0<\/strong>Comparative Drama Conference, OhioStateUniversity, April 25-27, 2002 (by invitation).
    “Blood and Seed: August Wilson’s Piano Lesson,”\u00a0<\/strong>University of Maryland, Conference on Slavery and African American literature, April 2002 (by invitation).
    “Directing The Independence of Eddie Rose,”<\/strong>\u00a0Indians’ Indian, Conference at CornellUniversity, March 2002 (by invitation).
    “Alain Locke and Dramatic Theory,”\u00a0<\/strong>American Society for Theatre Research, November 2001.
    “Shuffle Along and the Quest for Nostalgia,”<\/strong>\u00a0American Studies Association, November 2001).
    “Men in Black and White: The Heavyweight Prizefight of 1910,”\u00a0<\/strong>Association for Theatre in Higher Education, August, 2001.
    “Workshop: Meisner Technique,”\u00a0<\/strong>Association for Theatre in Higher Education, August 2000.
    “Black Performance and the Harlem Renaissance: Nationalism & Identity in African American Theatre,”<\/strong>\u00a0Graduate Colloquium, TuftsUniversity, December 2, 1999.
    “The Poetics of Silence: Subtext in HeddaGabler.”<\/strong>\u00a0Ibsen Society, Association for Theatre in Higher Education, Toronto (July, 1999).
    “Directing: A Workshop.”<\/strong>\u00a0Association for Theatre in Higher Education, Toronto (July, 1999)<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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    “Job Search Panel.”\u00a0<\/strong>Association for Theatre in Higher Education, San Antonio, TX (August, 1998).
    “‘Ain’t I a Dancer?’: Ethel Waters’ Shimmy Dance and the Working Class.”<\/strong>\u00a0American Society for Theatre Research, Seminar Panel, San Antonio, TX (November, 1997).
    “The Banner of Freedom: Marcus Garvey and the Performance of Black Nationalism.”<\/strong>\u00a0Paper on the 1920 UNIA convention. Third Annual Performance Studies Conference, (Atlanta, 1997).
    “Mourning, Allegory and the Baroque: Reading Walter Benjamin’s Trauerspiel in Angelina Weld Grimk\u00e9’sRachel.”\u00a0<\/strong>Comparative Drama Conference, University of Florida (March, 1997).
    “‘Have You Ever Seen Anyone Stick So Close to a Cracker?’: Parody and Romance in Williams and Walker’s Abyssinia.”<\/strong>\u00a0American Studies Association (November 1996).
    “The Shoo Fly Regiment and the Semiotics of Laughter.”\u00a0<\/strong>American Society for Theatre Research, Seminar Panel (November 1996).
    “Authority for Graduate Directors.”\u00a0<\/strong>Panel Chair, Association for Theatre in Higher Education (August 1996).
    “Aesthetics or Historicity?: Zufall and Notwendigkeit in Mid-Nineteenth Century German Dramatic Theory.”\u00a0<\/strong>Text & Presentation, Comparative Drama Conference, University of Florida (March 1996).
    “Native Themes by Non-Native Authors.”\u00a0<\/strong>Association for Theatre in Higher Education (August 1995).
    “Diversity in the Canon: The Role of the Dramaturge as Multiculturalist.”\u00a0<\/strong>Association for Theatre in Higher Education (August 1995).
    “Re-writing the Body: Aida Overton Walker and the Social Formation of Cakewalking.”\u00a0<\/strong>The First Annual Performance Studies Conference (March 1995).
    “Modernist Aesthetics and Racial Authenticity in African American Theatre.”\u00a0<\/strong>Mid-America Theatre Conference (March 1995).
    “Signs, Codes, and Parody in Early Black Musical Theatre.”\u00a0<\/strong>National Conference on African American Theatre (April 1995).
    “Realism in Theory: Ibsen’s Silent Debt to Hermann Hettner.”<\/strong>\u00a0Text & Presentation Conference, University of Florida (March 1995).
    “Crisis and Language in Black Musical Theatre at the Turn of the Century.”<\/strong>\u00a0Seminar Panel, American Society for Theatre Research (November 1994).
    “The Trickster Image in Native American Drama.”\u00a0<\/strong>Association for Theatre in Higher Education (July 1994).
    “Text and Performance Text: Beckett’s Endgame as a Paradigm of Conflict.”<\/strong>\u00a0Speech Communication’s Association (November, 1994).
    “Staging the Body, Voicing the Rage: Aida Overton\u2019s Experimentation in Drama and Dance.”\u00a0<\/strong>American Drama Panel, Northeast Modern Language Association (April 1994).
    “Cross-Gender Casting in Shakespeare\u2019s As You Like It.”<\/strong>\u00a0Northwest Drama Conference (February 1994).
    “Turn of the Century African American Performers and the Strategy of Cultural Expropriation.”\u00a0<\/strong>American Popular Culture Association (April 1994).
    “Theory, Contrast, and Difference: Hermann Hettner\u2019sDas moderne Drama and the Hegelian Dialectic.”<\/strong>\u00a0Text & Presentation Conference (March 1994).
    “Deviance in a Deviant Society: Prison Drama and the Labeling Process.”\u00a0<\/strong>Seminar Panel, American Society for Theatre Research (November 1993).
    “Problems in Biographing Charles Gilpin.”<\/strong>\u00a0Mid-American Theatre Conference (March 1993).
    “Charles S. Gilpin: The Actor before the Emperor.”\u00a0<\/strong>Association for Theatre in Higher Education (August 1991).<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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    1964: A Year in African American Performance History. London: Routledge, 2025.
    A History of Modern Drama, Vol. 2. Blackwell Press, 2016.
    An Actor\u2019s Craft: The Art and Technique of Acting. Palgrave Macmillan Press, 2012.
    A History of Modern Drama, Vol. 1. Blackwell Press, 2012.
    Theatre in Theory 1900-2000:\u00a0<\/strong>An Anthology, editor, Blackwell Press, 2008.
    This anthology comprises 82 previously published essays concerning dramatic theory and performance studies, with Introduction and biography of each contribution.
    American Drama, 1945-2000:\u00a0<\/strong>An Introduction, Blackwell Press, 2006.
    Part of Blackwell\u2019s Introduction to Literature Series.\u00a0Choice Academic Book Award, 2007<\/strong>
    Staging Philosophy:\u00a0<\/strong>New Approaches to Theatre, Performance, and Philosophy,
    Coeditor with David Saltz, Ann Arbor: University of Michigan Press, 2006.
    This collection comprises 15 original essays by Phil Auslander, No\u00ebl Carroll, Martin Puchner, Jon Erickson, Alice Raynor, and others.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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    A Companion to Twentieth-Century American Drama, editor, Blackwell Press,
    2005.
    This collection comprises 33 original essays on American Drama and Theatre.
    A Beautiful Pageant:\u00a0<\/strong>African American Theatre, Drama, and Performance, 1910-
    1927. New York: Palgrave, 2002.
    (2002 Finalist for the Theatre Library Association’s George Freedley Memorial Award)<\/strong>
    African American Performance and Theater History:\u00a0<\/strong>A Critical Reader, coeditor with
    Harry Elam, New York: Oxford University Press, 2001.
    (Recipient of the 2002 Errol Hill Award from ASTR)<\/strong>
    Method Acting Reconsidered:\u00a0<\/strong>Theory, Practice, Future, editor, New York: St. Martin’s
    Press, 2000.
    Resistance, Parody and Double Consciousness in African American Theatre,<\/strong>\u00a01895-
    1910. New York: St. Martin’s Press, Scholarly & Reference Division, 1997.
    (Recipient of the 1998 Errol Hill Award from ASTR)<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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    Book Reviews<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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    Between the Lines: A Philosophy of Theatre, by Michael Y. Bennett, Journal of Aesthetics and Art Criticism, 2025.
    Analysis through Action for Actors and Directors, David Chambers; and Active Analysis, by Maria Knebel, Theatre Journal, 2026.
    Baroque Modernity: An Aesthetics of Theater, by Joseph Cermatori, Theatre Journal 75.4 (Dec. 2023) 584-6.
    The Method: How the Twentieth Century Learned to Act, by Isaac Butler, Theatre Journal 74 (2022): 409-10.
    Henrik Ibsen: The Man and the Mask, by Ivo de Figueiredo, and Ibsen\u2019s Hedda Gabler: Philosophical Perspective, Kristin Gjesdal, ed., Theatre Journal 73 (2021): 438-40.
    Tragedy, the Greeks, and Us, by Simon Critchley, and Poetics of History: Rousseau and the Theater of Originary Mimesis, by Philippe Lacoue-Labarthe, Theatre Journal 72 (2020): 381-83.
    Rediscovering Stanislavsky, by Maria Shevtsova, Theatre Topics, 30.2 (July 2020): 134-5
    Spectral Characters: Genre and Materiality on the Modern Stage, by Sarah Balkin, Theatre Survey 61.2 (May 2020): 272-4.
    The Birth of Tragedy from the Spirit of Philosophy: Nietzsche and the Modern Drama, by David Kornhaber, Theatre Journal (March 2019): 401-402.
    Vaudeville Melodies: Popular Musicians and Mass Entertainment in American Culture, 1870-1929, forthcoming in American Historical Review, 2018.
    Analytic Philosophy and the World of Play, by Michael Y. Bennett, forthcoming in Theatre Journal, March 2018 issue.
    Tragedy and Dramatic Theatre, by Hans-Thies Lehmann, Theatre Journal 69.1 (March 2017): 121-2.
    Tragic Modernities, by Merian Leonard, and Adorno and Modern Theatre, by Karoline Gritzer, Theatre Journal 63.3 (Sept. 2016): 499-501.
    Art, Vision, and Nineteenth-Century Realist Theatre: Acts of Seeing, by Amy Holzpfel, Theatre Survey 57.2 (May 2016): 284-6.
    The Theatrical Public Sphere, by Christopher Balme, Theatre Journal 67.4 (Dec. 2015): 749-50.
    The Cambridge Companion to African American Theatre, Harvey Young, ed., TDR, 2014.
    Whiting Up: Whiteface Minstrels and Stage Europeans in African American Performance, by Marvin McAllister, African American Review, 2014.
    August Strindberg: A Biography, by Sue Prideaux, and the two-volume translation of Strindberg\u2019s plays, commissioned by Theatre Journal 65.4 (Dec. 2013): 605-7.
    Acting: The Gister Method, by Joseph Alberti, Theatre Topics 23.1 (March 2013): 111-2.
    Philosophy and Thespians: Thinking Performance, by Freddie Rokem, Modern Drama 55.2 (Summer 2012): 280-3.
    Swing Along: The Musical Life of Will Marion Cook, by Marva Griffin Carter, African American Review 44.1-2 (Spring\/Summer 2012): 285-86.
    The Art of the Actor: The Essential History of Acting, from Classical Times to the Present Day, by Jean Benedetti, &Stanislavski in Practice: Exercises for Students, by Nick O\u2019Brien, Theatre Topics, September, 2011.
    Alain Locke: The Biography of a Philosopher, Leonard Harris & Charles Molesworth, African American Review 43.4 (Winter 2009): 759-760.
    Slave Songs and the Birth of African American Poetry, by Lauri Ramey, African American Review 43.4 (Winter 2009) 760-61.
    Stanislavsky in America, by Mel Gordon, Theatre Topics 20.2 (Sept. 2010): 193-4.
    Theatre Arts on Acting, Laurence Senelick, ed., Theatre History Studies 30 (2010): 262-4.
    The Scene of Harlem Cabaret: Race, Sexuality, Performance, by Shane Vogel, Modernism\/Modernity 17.2 (April 2010): 445-6.
    Ira Aldridge: The African Roscius, African American Review 43.1, BernthLindfors, ed. (Spring 2009): 202-3.
    The American Play, by Marc Robinson, Theatre Journal 62.1 (March 2010): 126-7.
    Forgeries of Memory and Meaning: Blacks and The Regimes of Race in American Theater and Film Before World War II, Theatre Research International, 2010.
    The Stanislavsky System of Acting, Rose Whyman, Theatre Journal 61.2 (May 2009): 343-4.
    Babylon Girls: Black Women Performers and the Shaping of the Modern, by Jana Brown, American Historical Review (June 2009): 793-4.
    Rethinking Tragedy, ed. Rita Felski, Theatre Journal 60.3 (October 2008): 514-15.
    Theatre of Estrangement: Theatre, Practice, Ideology, by SilvijaJestrovic, Theatre Survey, May 2008.
    Bodies in Dissent: Spectacular Performances of Race and Freedom, 1850-1910, by Daphne A. Brooks, Nineteenth-Century Context 30.2 (July 2008).
    Before Harlem: The Black Experience in New York City before World War I, by March S. Sacks, African American Review 41.3 (Fall 2007): 575-6.
    Henrik Ibsen and the Birth of Modernism: Art, Theater, Philosophy, by TorilMoi, Theatre Journal 59.3 (Oct. 2007): 540-1.
    Blackface Cuba, 1840-1895, by Jill Lane, Theatre History Studies 27 (2007): 160-2.
    Staging Race: African American Performers at the Turn of the Century, by Karen Sotiropoulos, African American Review 40.2 (Summer 2006): 378-78.
    Print and the Poetics of Modern Drama, by W. Worthen, &Harold Pinter and the Twilight of Modernism, by Varun Begley, Theatre Journal 58.3 (October 2006): 524-26.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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    Bertolt Brecht’s Dramatic Theories, by John J. White, &Staging History: Brecht’s Social Concepts of Ideology, by Astrid Oesmann, Theatre Survey 47.2 (Nov. 2006): 337-41.
    The Fire This Time: African American Plays for the Twentieth-First Century, African American Review 40.1 (Spring 2006): 185-7.
    The Past as Present in the Drama of August Wilson, by Harry Elam, Theatre Research International 31.2 (March 2006): 103-4.
    Essays on Twentieth-Century German Drama and Theater, edited by Hellmut Hal Rennert, Text and Presentation:Journal of Comparative Drama 2004 (2005), 215-219.
    Making Americans: Jews and the Broadway Musical, by Andrea Most, Modern Drama XLVIII.1 (Spring 2005): 217-219.
    Rethinking Social Realism: African American Art and Literature, 1930-1953, by Stacy Morgan, Journal of American History 91.4 (March 2005): 1517-1518.
    Professing Performance: Theatre in the Academy from Philology to Performativity, by Shannon Jackson, Theatre Journal 57.1 (March 2005): 152-3.
    Stories of Freedom in Black New York, by Shane White, American Historical Review (December 2004): 1567-68.
    Oprah Winfrey and the Glamour of Misery: An Essay on Popular Culture, by Eva Illouz, African American Review 38.3 (Fall 2004): 539-41.
    The Stage Life of Props, Andrew Sofer, Theatre Journal 56.2 (May 2004): 327-8.
    From Girl to Woman: American Women’s Coming-of-Age Narratives, Christy Rishoi, African American Review37.4 (Winter 2003): 661-2.
    Theatre, Society and the Nation: Staging American Identities, S. E. Wilmer, Journal of American History (December 2003): 1438-39.
    Modern Bodies: Dance and American Modernism from Martha Graham to Alvin Ailey, Julia L. Foulkes, Journal of American History (December 2003): 1473-74.
    Sweet Violence: The Idea of the Tragic, Terry Eagleton, and Agitated States: Performance in the American Theater of Cruelty, Anthony Kubiak, Theatre Survey 44.2 (November 2003): 273-76.
    Performer Training: Developments Across Cultures, Ian Watson, ed., and Approaches to Acting: Past and Present, Daniel Meyer-Dinkgr\u00e4fe, Modern Drama XLVI.2 (Summer 2003): 331-36.
    The Performance Art in Africa, Frances Harding, ed., and The Athenian Sun in the African Sky, by Kevin Wetmore, Theater (Yale) 33.3 (Fall 2003): 145-7.
    Fangs of Malice: Hypocrisy, Sincerity, and Acting, Mathew Wikander,Theatre Survey 44.2 (November 2003): 282-284.
    Stage Fright: Modernist Antitheatricalism and Drama, Martin Puchner, Theatre Journal 55.3 (October 2003): 573-74.
    David Mamet in Conversation, Leslie Kane, ed., and Leslie Kane, Weasels and Wisemen: Ethics and Ethnicity in the Work of David Mamet, Modern Drama 45.1 (Spring 2002): 167-171.
    Cambridge History of American Drama, Vol. III, Don Wilmeth and Christopher Bigsby, eds., Modern Drama 44.4 (Winter 2001): 491-93.
    Writing Himself Into History: Oscar Micheaux, His Silent Films, and His Audience, Pearl Bowser and Louise Spence, and Straight Lick: The Cinema of Oscar Micheaux, J. Ronald Green, American Historical Review 88.4 (March 2002): 1576-77.
    A Sourcebook of African-American Performance: Plays, People, Movements, Annemarie Bean, ed.,Modern Drama 43.3 (Fall 2000): 498-501.
    The First Black Actors on the Great White Way, Susan Curtis, Theatre Journal52.1 (March 2000): 145-6.
    Review Essay: Demons of Disorder: Early Blackface Minstrel and Their World, Dale Cockrell; Scenes of Subjection: Terror, Slavery, and Self-Making in Nineteenth-Century America, Saidiya V. Hartman; Raising Cain: Blackface Performance from Jim Crow to Hip Hop, W. T. Lhamon, Jr., Nineteenth Century Theatre 27.2 (Winter 1999): 137-151.
    Digging the Africanist Presence in American Performance: Dance and Other Contexts, Brenda Dixon Gottschild, Theatre Research International 22.3 (Fall 1997): 276-7.
    Inside the Minstrel Mask: Readings in Nineteenth-Century Minstrelsy, Annemarie Bean, ed., Theatre Survey 38.2 (November 1997): 169-71.
    Performing Brecht: Forty Years of British Performances, Margaret Eddershaw, Modern Drama 40.1 (Spring 1997): 175-78.
    The Cambridge Companion to Brecht, ed. Peter Thomson and Glendya Sacks, Modern Drama 39.2 (Summer 1996): 349-51.
    Review Essay: August Wilson and the African American Odyssey, August Wilson: A Casebook, and The Dramatic Vision of August Wilson, Sandra Shannon, Theatre Survey 37.1 (May 1996): 146-50.
    African American Theatre: An Historical and Critical Analysis, Samuel Hay, Theatre Research International 20.2 (Summer 1995): 170-1.
    Zuckmeyer and Hilpert: Partnership in German Theatre, William Grange,Modern Drama 38.1 (Spring 1995): 141-43.
    A Doll’s House: Ibsen’s Myth of Transformation, Errol Durbach: New England Theatre Journal 5 (1994): 124-5.
    Dusky Maidens: The Odyssey of the Early Black Dramatic Actress, Jo A. Tanner: Theatre Journal 46.3 (October 1994): 434-5.
    Love and Theft: Blackface Minstrelsy and the American Working Class, Eric Lott: Theatre Survey 35.1 (May 1994): 151-53.
    Bert Williams: A Biography of the Pioneer Black Comedian, Eric Ledell Smith: Theatre Studies 39 (Spring 1994): 94-5.
    Bertolt Brecht\u2019s Art of Dissemblance, Tony Calabro: Modern Drama 26.4 (December 1993): 587-8.
    HeddaGabler: Gender, Role, and World, Charles R. Lyons: New England Theatre Journal 4 (Spring 1993): 113-4.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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    Theatre Reviews<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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    \u201cBoys in the Band,\u201d<\/strong>Theatre Journal 71 (2019): 111-13.
    “In the Blood,”<\/strong>\u00a0by Suzan-Lori Parks, Theatre Journal 52.4 (December 2000): 565-567.
    “The Hairy Ape,”\u00a0<\/strong>O’Neill, performed by the Wooster Group, Theatre Journal 49.4 (December 1997): 531-32.
    “Native Voices: A Festival of Native Playwrights,”\u00a0<\/strong>Native Playwrights Newsletter 8 (Summer 1995): 72-3.
    “The Rez Sisters,”\u00a0<\/strong>by Thompson Highway: Theatre Journal 6.3 (October 1994): 399-400.
    “Oleanna,”<\/strong>\u00a0by David Mamet: New England Theatre Journal 4.1 (Spring 1993): 131-2.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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    “My Mother Never Said I Should,”\u00a0<\/strong>by Charlotte Keatley: Theatre Journal 45.1 (October 1993): 384-5.
    “According to Coyote,”\u00a0<\/strong>by Carlotta Kaufman: Native Playwrights Newsletter 3 (Fall 1993): 8.
    “Galileo,”\u00a0<\/strong>Communications from the International Brecht Society 21.1 (May 1992): 31-4.
    “Hamlet” & “The Seagull,”<\/strong>\u00a0Theatre Journal 44.4 (December 1992): 528-30.
    “The Resistible Rise of Arturo Ui,”\u00a0<\/strong>Theatre Journal 43.4 (December 1991): 530-1.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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    University of Michigan Press (coeditor, with Harvey Young) of “Theater: Theory\/Text\/Performance” (formerly edited by Enoch Brater), beginning 2006.
    Routledge Encyclopedia of Modernism: Series editor for theatre and drama.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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    Journal of American Drama and Theatre 17.2 (Spring 2005), plus Introductory essay, 5-
    6.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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    “Representations of Ethnicity.” American Society for Theatre Research (November 1995).<\/p>

    Chair, 2000-2006, Black Theatre Association (in conjunction with the Association for Theatre in Higher Education) Debut Panel.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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    Marie Humber Clements’s “Now Look What You Made Me Do,” at Native Voices: A Festival of Native Playwrights, Illinois State University, 1995.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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    Outside Evaluator for Tenure and Promotion<\/h2>\t\t\t\t<\/div>\n\t\t\t\t
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    Universities Requesting Dossier Reviews<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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    University of Oklahoma (2020)
    University of Arizona (2019)
    Wesleyan University (2019)
    University of Kansas (2017)
    University of California, Santa Cruz (2016)
    University of Connecticut (2015)
    Villanova University (2011)
    Chapman University (2010)
    University of Massachusetts, Amherst (2009)
    SyracuseUniversity (2009)
    University of California, San Diego (2008)
    University of California, Riverside (2007)
    GeorgetownUniversity (2007)
    University of Richmond (2007)
    University of Wisconsin, Madison (2006)
    University of Virginia (2006)
    CarnegieMellonUniversity (2006)
    University of California, Irvine (2006)
    University of Georgia (2006)
    TexasTechUniversity (2006)
    Southern IllinoisUniversity (2006)
    North DakotaStateUniversity (2006)<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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    ArizonaStateUniversity (2005)
    ColumbiaUniversity (2004)
    BostonCollege (2004)
    University of CentralFlorida (2004)
    TexasA&MUniversity (2004)
    Franklin&MarshallCollege (2004)
    BrownUniversity (2003)
    University of Maryland, College Park (2003)
    De Paul University (2003)
    University of California, Santa Cruz (2003)
    University of California, San Diego (2003)
    LouisianaStateUniversity (2003)
    WesternMichiganUniversity (2003)
    University of New Hampshire (2002)
    StateUniversity of NY, Stony Brook (2002)
    ConnecticutCollege (2002)
    Lewis & ClarkCollege (2001)
    VirginiaCommonwealthUniversity (1999)
    University of Florida, Gainesville (1999)<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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    Evaluator for Book-Length Manuscripts<\/h2>\t\t\t\t<\/div>\n\t\t\t\t
    \n\t\t\t\t\t

    several more than one manuscript<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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    University of Michigan Press (series editor)
    YaleUniversity Press
    CambridgeUniversity Press
    OxfordUniversity Press
    Blackwell Press
    Austrian Science Fund
    Palgrave
    Routledge
    University of North Carolina Press<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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    IndianaUniversity Press
    University of Alabama Press
    University of Minnesota Press
    University of Illinois Press
    Mayfield Publishing Company
    OhioUniversity Press
    University of Toronto Press
    University of Texas Press<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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    Plays Written<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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    Lillie and Lou: finalist for the Joseph Kesselring award (1982); presented in a workshop at the Actors Studio in 1983 (directed by Estelle Parsons), and another production directed by Doug Moston also in 1983; another presented at the University of Idaho in 1995.
    Adaptation of the short stories of Breece D\u2019J Pancake, presented at Dean College, 2016<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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    Conference Chair & Coordinator<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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    Conference Planning Committee: Association for Theater in Higher Education, August 2001.
    Conference Planning Committee: American Society for Theatre Research, November 2000.
    Co-Chair, Mid-America Theatre Conference: March 1997. Theme: Popular Culture and Theatre.
    Co-Chair (founder with Harry Elam), The Black Theater Association (BTA) Debut Panel for ATHE (since 1999)<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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    Service<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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    Five Towns College: Chairing all Search Committees<\/strong>
    Dean:<\/strong>\u00a0Chair of Search Committees for all faculty hires (musical theatre, acting, film, radio, and arts and entertainment management)
    Dean:<\/strong>\u00a0Curriculum Committee; Rank & Promotion Committee
    Emerson:<\/strong>\u00a0Chair Search Committee, Performing Arts Department, Emerson College (2007-8)
    Emerson:<\/strong>\u00a0PRISM & SCANN \u2013 Diversity Committees, Emerson College (2010-2012)
    Yale:<\/strong>\u00a0Several Search Committees for all faculty in the Theatre Program.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

    Dr. David krasner 11 Brothers Court, Dix Hills NY 11746Office: (631) 271-0271; cell & text (203) 668 6910KrasnerD@aol.com www.davidkrasner.com LinkedIn\/David Krasner Academic Professional with over fifty years of experience in teaching acting and history. Professional Academic Experience Chair of Theatre, Five Towns College\u00a02018 \u2013Present Program with a B.F.A in Acting and Musical Theatre Producing Director…<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"elementor_header_footer","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-1035","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"http:\/\/davidkrasner.com\/Newd\/wp-json\/wp\/v2\/pages\/1035","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/davidkrasner.com\/Newd\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/davidkrasner.com\/Newd\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/davidkrasner.com\/Newd\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/davidkrasner.com\/Newd\/wp-json\/wp\/v2\/comments?post=1035"}],"version-history":[{"count":29,"href":"http:\/\/davidkrasner.com\/Newd\/wp-json\/wp\/v2\/pages\/1035\/revisions"}],"predecessor-version":[{"id":2844,"href":"http:\/\/davidkrasner.com\/Newd\/wp-json\/wp\/v2\/pages\/1035\/revisions\/2844"}],"wp:attachment":[{"href":"http:\/\/davidkrasner.com\/Newd\/wp-json\/wp\/v2\/media?parent=1035"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}