This collection represents a sample of faculty work from the Theatre Arts Department. The faculty is committed to theatre as a liberal art and an emphasis on the total artist. Developing skills and connecting insights in acting, directing, design, production, dramaturgy, research, and writing throughout their instructional activities. Department productions provide the university and local community with the opportunity to experience high-quality theatre of diverse style, content, and form from a variety of historical periods.

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Submissions from 2014

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Gay Sweatshop, Alternative Theatre, And Strategies For New Writing, Sara Freeman

Submissions from 2012

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British Alternative Companies and Antinuclear Plays: Eco-Conscious Theatre in Thatcher’s Britain, Sara Freeman

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Introduction: Theatre, Performance, and the Public Sphere, Sara Freeman

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Review of: British Asian Theatre: Dramaturgy, Process, and Performance by Dominic Hingorani by Dominic Hingorani, Sara Freeman

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Timberlake Wertenbaker, Sara Freeman

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Public Theatres and Theatre Publics, Sara Freeman and Robert B. Shimko

Submissions from 2011

Three Dramaturgy Assignments from the University of Oregon, Sara Freeman

Submissions from 2010

Absent Mother/Present Mother: Timberlake Wertenbaker’s Credible Witness and Tony Kushner’s Homebody/Kabul, Sara Freeman

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Review of: Political Theatre in Post-Thatcher Britain: New Writing 1995-2005 by Amelia Howe Kritzer, Sara Freeman

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Review of: The Cambridge Introduction to Tragedy by Jennifer Wallace, Sara Freeman

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Soyinka UK/Soyinka USA: Death and the King’s Horseman at the RNT and OSF, Sara Freeman

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Tragedy After Darwin: Timberlake Wertenbaker Remakes Modern Tragedy, Sara Freeman

Submissions from 2009

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Early Modern Naturalistic Acting: The Role of the Globe in the Development of Personatio, Jacalyn Royce

Submissions from 2008

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Afterword: The Translatorial Consciousness, Sara Freeman

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A Nightingale on the Nile: An Interview with Dalia Basiouny, Sara Freeman

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Group Tragedy and Diaspora: New and Old Histories of Family and Exile in Timberlake Wertenbaker’s Hecuba and Credible Witness, Sara Freeman

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International Dramaturgy: Translation and Transformations in the Theatre of Timberlake Wertenbaker, Sara Freeman and Maya Esther Roth

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Toward a Dramaturgical Sensibility: Landscape and Journey, Geoffrey S. Proehl, D. D. Kugler, Mark Lamos, and Michael Lupu

Submissions from 2007

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The Immigrant, the Exile, and the Refugee in Timberlake Wertenbaker’s Credible Witness: A Poetics of Diaspora, Sara Freeman

Submissions from 2006

Joint Stock Theatre Company, Sara Freeman

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Review of: The Importance of Being Earnest by Oscar Wilde and Travesties by Tom Stoppard staged by The Court Theatre in Chicago, Sara Freeman

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Toward a Genealogy and Taxonomy of British Alternative Theatre, Sara Freeman

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Writing the History of Alternative Theatre Companies: Mythology and the Last Years of Joint Stock, Sara Freeman

Submissions from 2005

Joan Littlewood, Sara Freeman

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Review of: Contemporary Black and Asian Women Playwrights in Britain by Gabriele Griffin, Sara Freeman

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Dramaturgy and Silence, Geoffrey S. Proehl

Submissions from 2004

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Review of: Brecht on Art and Politics edited by Tom Kuhn and Steve Giles, Sara Freeman

Timberlake Wertenbaker, Sara Freeman

Canadian Road Trip: An Oblique State of Mind, Geoffrey S. Proehl

Submissions from 2003

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Review of: Machinal by Sophie Treadwell staged by The Hypocrites at Chicago Dramatists, Sara Freeman

Submissions from 2002

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Adaptation After Darwin: Timberlake Wertenbaker’s Evolving Texts, Sara Freeman

Review of: Mother Courage and Her Children staged by Steppenwolf Theatre Company, Sara Freeman

Submissions from 2001

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Review of: TDR Special Section on Bertolt Brecht: “German Brecht, European Readings” by Susanne Winnacker, Sara Freeman

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Theory and Philosophy Roundtable: Boundaries, Definitions, Provocations, Sara Freeman

Special Section on Dramaturgy, Geoffrey S. Proehl

Submissions from 2000

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Review of: Sweet Dreams by Diane Esguerra staged by Sphinx Theatre Company and Some Explicit Polaroids by Mark Ravenhill staged by Out of Joint, Sara Freeman

Review of: Thatcher’s Theatre: British Theatre and Drama in the Eighties by D. Keith Peacock, Sara Freeman

Submissions from 1999

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Rehearsing Dramaturgy: Olivia’s Moment, Geoffrey S. Proehl

Submissions from 1998

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“Each in our open-ended way, we are multitudinous" — Les Nombres by Andrée Chedid, Sara Freeman

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Rehearsing Dramaturgy: Time Is Passing, Geoffrey S. Proehl

Submissions from 1997

Review of: Staging Space by Una Chaudhuri, Sara Freeman

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Coming Home Again: American Family Drama and the Figure of the Prodigal, Geoffrey S. Proehl

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Dramaturgy in American Theater: A Source Book, Geoffrey S. Proehl, Susan Jonas, and Michael Lupu

Submissions from 1994

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dramaturg, Geoffrey S. Proehl

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dramaturgy, Geoffrey S. Proehl

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theatricality, Geoffrey S. Proehl

Submissions from 1990

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Foucault on Discourse; O'Neill as Discourse, Geoffrey S. Proehl

Submissions from 1980

Articles on the teaching of Sophocles, Yeats, and Eliot in the secondary school, Geoffrey S. Proehl