DAVID KRASNER
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Scholarly Articles in Journals:

“Dark Tower and the Saturday Nighters: Two Directions in African American Drama,” 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 Piñero'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 Grimké'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’s 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’s 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.

Scholarly Articles in Books:

“The Real Thing,” forthcoming in Race & Commodity at the Turn of the Century (working title), 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, Cambridge University Press, 2007, 57-70.

Stonewall, '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.

“Introduction,” Staging Philosophy (co-writer), see above.

"Eugene O'Neill: American Drama and American Modernism," Blackwell Companion to Twentieth-Century American Drama, Krasner, ed. London: Blackwell, 2005, 142-158.

“Introduction,” 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. Oxford University Press, 1999, (Cole) 203-4, (Cook) 390-1.

Letters to the Editor, Interviews:

“Whose Method?” Letter to the Editor, The Times Literary Supplement, 27 oct. 2010

“The Ones Who Came First,” Letter to the Editor, New York Times, 25 Jan. 2009: 2, 38.

"Classic Fours," New York Times, 6 March 2005, Art Section, 4.

"Behind the Blackface," Letter to the Editor, American Theatre, April 2004: 3.

"Grotowski: Hardly an Exception," Letter to the Editor, New York Times, Arts and Leisure, 27 August 2000, 2.

"Method Acting and Shakespeare," Letter to the Editor, Chronicle of Higher Education, September 3, 1999, B13.

"Should Peer Gynt Also Be Denied?" Letter to the Editor, New York Times, Sunday, 2 February 1992, Arts & Leisure Section.

"Stupid Plays and Other Things." Letter to the Editor, TDR 39.4 (Winter 1995): 14-15.

Interview: "Charlotta Kauffman - Actress in According to Coyote." Native Playwrights’ Newsletter 3 (Fall 1993): 9-12.

Conference Papers:

“Jazz Acting,” Univ. of Kansas, September 29, 2007, invited speaker to the graduate symposium.

“Aaron Douglas and the Arts of the Harlem Renaissance,” Univ. of Kansas, September 30, 2007, invited speaker.

“Tell Your Story: The Legacy of August Wilson,” Univ. of Maryland, March 2007, invited speaker.

“August Wilson in Retrospective: A Circumscribed Black Space,” MLA 2006.

“Publishing” ASTR, 2006

“Publishing for Senior Scholars,” ATHE 2006

All-Conference Respondent for a conference on "Calamity," sponsored by Northwestern University (by invitation), September-October, 2005.

"Directing and Theory," ATHE, 2005.

“Stonewall, 'Constant Historical Progress,' and Angels in America: The Neo-Hegelian
Positivist Sense," Conference on American Drama, Kansas City, March 3-5, 2005

"Authenticity and Experience: Zora Neale Hurston's 'Characteristics of Negro Expression' (1934) and Black Performance," Association for Theatre in Higher Education, 2004. "Fresh Prints" series (by invitation).

"Avant Garde Now!" Association for Theatre in Higher Education, 2004.

Presiding Chair (2 Panels)" Realism and Anti-Realism in American Drama," Modern Language Association, December 2004. Also, liaison to MLA for the American Society for Theatre and Drama.

Presiding Chair and Respondent: "Modernism and American Drama and Theater," Modern Language Association, 27 December 2003. Also, liaison to MLA for the American Society for Theatre and Drama.

"Jumping at the Sun: Reassessing the Life and Works of Zora Neale Hurston," Barnard College, Oct. 2-5 2003 (by invitation).

"Performers and the Harlem Renaissance," Chicago Humanities Festival: The Life of Eubie Blake, June 21-26, 2003 (by invitation—I also served the festival for a week as daily guide, introducing speakers and moving the proceedings along).

"African American Theatre: A Roundtable Discussion," Comparative Drama Conference, Ohio State University, April 25-27, 2002 (by invitation).

"Blood and Seed: August Wilson's Piano Lesson," University of Maryland, Conference on Slavery and African American literature, April 2002 (by invitation).

"Directing The Independence of Eddie Rose," Indians' Indian, Conference at Cornell University, March 2002 (by invitation).

"Alain Locke and Dramatic Theory," American Society for Theatre Research, November 2001.

"Shuffle Along and the Quest for Nostalgia," American Studies Association, November 2001).

"Men in Black and White: The Heavyweight Prizefight of 1910," Association for Theatre in Higher Education, August, 2001.

"Workshop: Meisner Technique," Association for Theatre in Higher Education, August 2000.

"Black Performance and the Harlem Renaissance: Nationalism & Identity in African American Theatre," Graduate Colloquium, Tufts University, December 2, 1999.

"The Poetics of Silence: Subtext in Hedda Gabler." Ibsen Society, Association for Theatre in Higher Education, Toronto (July, 1999).

"Directing: A Workshop." Association for Theatre in Higher Education, Toronto (July, 1999)

"Job Search Panel." Association for Theatre in Higher Education, San Antonio, TX (August, 1998).

"'Ain't I a Dancer?': Ethel Waters's Shimmy Dance and the Working Class." American Society for Theatre Research, Seminar Panel, San Antonio, TX (November, 1997).

"The Banner of Freedom: Marcus Garvey and the Performance of Black Nationalism." Paper 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 Grimké's Rachel." 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." American Studies Association (November 1996).

"The Shoo Fly Regiment and the Semiotics of Laughter." American Society for Theatre Research, Seminar Panel, Pasadena, CA (November 1996).

"Authority for Graduate Directors." Panel Chair, Association for Theatre in Higher Education (August 1996).

"Aesthetics or Historicity?: Zufall and Notwendigkeit in Mid-Nineteenth Century German Dramatic Theory." Text & Presentation, Comparative Drama Conference, University of Florida (March 1996).

"Native Themes by Non-Native Authors." Association for Theatre in Higher Education (August 1995).

"Diversity in the Canon: The Role of the Dramaturge as Multiculturalist." Association for Theatre in Higher Education (August 1995).

"Re-writing the Body: Aida Overton Walker and the Social Formation of Cakewalking." The First Annual Performance Studies Conference (March 1995).

"Modernist Aesthetics and Racial Authenticity in African American Theatre." Mid-America Theatre Conference (March 1995).

"Signs, Codes, and Parody in Early Black Musical Theatre." National Conference on African American Theatre (April 1995).

"Realism in Theory: Ibsen's Silent Debt to Hermann Hettner." Text & Presentation Conference, University of Florida (March 1995).

"Crisis and Language in Black Musical Theatre at the Turn of the Century." Seminar Panel, American Society for Theatre Research (November 1994).

"The Trickster Image in Native American Drama." Association for Theatre in Higher Education (July 1994).

"Text and Performance Text: Beckett's Endgame as a Paradigm of Conflict." Speech Communication's Association (November, 1994).

"Staging the Body, Voicing the Rage: Aida Overton’s Experimentation in Drama and Dance." American Drama Panel, Northeast Modern Language Association (April 1994).

"Cross-Gender Casting in Shakespeare’s As You Like It." Northwest Drama Conference (February 1994).

"Turn of the Century African American Performers and the Strategy of Cultural Expropriation." American Popular Culture Association (April 1994).

"Theory, Contrast, and Difference: Hermann Hettner’s Das moderne Drama and the Hegelian Dialectic." Text & Presentation Conference (March 1994).

"Deviance in a Deviant Society: Prison Drama and the Labeling Process." Seminar Panel, American Society for Theatre Research (November 1993).

"Problems in Biographing Charles Gilpin." Mid-American Theatre Conference (March 1993).

"Charles S. Gilpin: The Actor Before the Emperor." Association for Theatre in Higher Education (August 1991).

All Material Copyright David Krasner 2010