Volume 2, Number 2
December 2016
Greetings
Seeds: A Note From the Editors
Jennifer Goff & Julia Moriarty
Identity and Nationality
Great Art Has No Nationality: How Ives Adapts
Daniel Ciba
Representations of Irish Identity and the Easter Rising in Sebastian Barry's Ancestors Cycle
Kristi Good
"De-Dandification" and the "Name of the Father": Masculinity and Fatherhood in Wilde's The Importance of Being Earnest
Tanner Sebastian
Meaning Making and the Audience Experience
Really Sell it to Me: Immersive Theatre as Ideal Commodity
Kelsey Laine Jacobson
From "Hakuna Matata" to "Hasa Diga Eebowai": Paradoxical Bliss in The Book of Mormon
Norman Cahn
From Conflict to Concord: Lessons from the Mouse
Mead K. Hunter
Seeds: A Note From the Editors
Jennifer Goff & Julia Moriarty
Identity and Nationality
Great Art Has No Nationality: How Ives Adapts
Daniel Ciba
Representations of Irish Identity and the Easter Rising in Sebastian Barry's Ancestors Cycle
Kristi Good
"De-Dandification" and the "Name of the Father": Masculinity and Fatherhood in Wilde's The Importance of Being Earnest
Tanner Sebastian
Meaning Making and the Audience Experience
Really Sell it to Me: Immersive Theatre as Ideal Commodity
Kelsey Laine Jacobson
From "Hakuna Matata" to "Hasa Diga Eebowai": Paradoxical Bliss in The Book of Mormon
Norman Cahn
From Conflict to Concord: Lessons from the Mouse
Mead K. Hunter
About the Contributors
NORMAN CAHN is a journalist and researcher with a B.A. in Music from the University of California, Berkeley. An avid violinist and experimentalist, he has performed with the UC Berkeley Baroque Ensemble, BareStage Productions, and was a lead drummer for UC Berkeley’s African Music Ensemble. Currently, Norman is interested in finding connections between past and present in emerging musical trends. He presently enjoys writing analytical reviews of contemporary classical music with I Care if You Listen. His writings have also been featured in the Berkeley Political Review, for which he previously served as the Arts and Entertainment editor.
DANIEL CIBA is a Ph. D. Candidate in Drama at Tufts University. His research focuses on the integration of memory studies into production history, using productions of Tennessee Williams’s early works. He received his M.A. in Theatre from Villanova University in 2012, where he served as dramaturg for Marina Carr's Woman and Scarecrow. He has presented at the Indiana University's Graduate Theater Symposium, the Philadelphia Theatre Research Symposium, the Association of Theatre in Higher Education, the Tufts Graduate Humanities Conference, the Humanities Education and Research Association Conference and, most recently, at the South Eastern Theatre Conference Theatre Symposium, with a paper considering Foucault’s concept of counter-memory as a means on re-examining Lee Breuer’s French production of Streetcar. He has been published in Praxis and Theater Research International.
KRISTI GOOD, PhD is a Visiting Assistant Professor in the Department of Theatre at Lycoming College, where she teaches theatre history and practical dramaturgy. Her scholarship focuses on the intersection of cognitive sciences and the arts, particularly regarding Irish theatre and theatre of trauma and human rights. She is an active member of the American Conference for Irish Studies, the Association for Theatre in Higher Education, and the Mid-America Theatre Conference.
MEAD K. HUNTER is an Assistant Professor of Dramaturgy & History in the Theater Program at the University of Portland. He also serves as Artistic Director of The New Harmony Project, a new play development organization dedicated to stories that speak to the resilience of the human spirit.
KELSEY LAINE JACOBSON is a current PhD Candidate at the University of Toronto’s Centre for Drama, Theatre, and Performance Studies. Her dissertation considers the affective dimensions of realness onstage in contemporary Canadian performance. She previously completed her MA in Theatre and Performance at Queen Mary, University of London and her BA (Honours) at Queen’s University where she is currently an adjunct lecturer in the Dan School of Drama and Music. Kelsey also spent time learning immersive theatre design with Punchdrunk theatre company, and dramaturgy as a Junior Researcher working in Research and Higher Education at Shakespeare’s Globe in London, UK. She is also a founding director of the Centre for Spectatorship and Audience Research, housed at the University of Toronto.
TANNER SEBASTIAN is working towards his M.A. in English Literature at Ohio University, focusing on British theatre. He earned a B.A. in English Studies/Theatre at Robert Morris University in Moon Township, PA, where he was president of the honorary theatre fraternity Alpha Psi Omega. He has presented this paper in two halves: the first half was presented at the University of Cincinnati as part of the 2016 humanitiesNow conference, and the second as part of the Chesnutt Reading Series at Ohio University, November 2016. In what little free time he has, Tanner extends his love of theatre to acting in community theatre productions and playwriting. His first play, Remembrance, premiered at Robert Morris in 2014 and received an additional production at Slippery Rock University in 2016.
Header Image Courtesy of The Distracted Globe Theatre Company
NORMAN CAHN is a journalist and researcher with a B.A. in Music from the University of California, Berkeley. An avid violinist and experimentalist, he has performed with the UC Berkeley Baroque Ensemble, BareStage Productions, and was a lead drummer for UC Berkeley’s African Music Ensemble. Currently, Norman is interested in finding connections between past and present in emerging musical trends. He presently enjoys writing analytical reviews of contemporary classical music with I Care if You Listen. His writings have also been featured in the Berkeley Political Review, for which he previously served as the Arts and Entertainment editor.
DANIEL CIBA is a Ph. D. Candidate in Drama at Tufts University. His research focuses on the integration of memory studies into production history, using productions of Tennessee Williams’s early works. He received his M.A. in Theatre from Villanova University in 2012, where he served as dramaturg for Marina Carr's Woman and Scarecrow. He has presented at the Indiana University's Graduate Theater Symposium, the Philadelphia Theatre Research Symposium, the Association of Theatre in Higher Education, the Tufts Graduate Humanities Conference, the Humanities Education and Research Association Conference and, most recently, at the South Eastern Theatre Conference Theatre Symposium, with a paper considering Foucault’s concept of counter-memory as a means on re-examining Lee Breuer’s French production of Streetcar. He has been published in Praxis and Theater Research International.
KRISTI GOOD, PhD is a Visiting Assistant Professor in the Department of Theatre at Lycoming College, where she teaches theatre history and practical dramaturgy. Her scholarship focuses on the intersection of cognitive sciences and the arts, particularly regarding Irish theatre and theatre of trauma and human rights. She is an active member of the American Conference for Irish Studies, the Association for Theatre in Higher Education, and the Mid-America Theatre Conference.
MEAD K. HUNTER is an Assistant Professor of Dramaturgy & History in the Theater Program at the University of Portland. He also serves as Artistic Director of The New Harmony Project, a new play development organization dedicated to stories that speak to the resilience of the human spirit.
KELSEY LAINE JACOBSON is a current PhD Candidate at the University of Toronto’s Centre for Drama, Theatre, and Performance Studies. Her dissertation considers the affective dimensions of realness onstage in contemporary Canadian performance. She previously completed her MA in Theatre and Performance at Queen Mary, University of London and her BA (Honours) at Queen’s University where she is currently an adjunct lecturer in the Dan School of Drama and Music. Kelsey also spent time learning immersive theatre design with Punchdrunk theatre company, and dramaturgy as a Junior Researcher working in Research and Higher Education at Shakespeare’s Globe in London, UK. She is also a founding director of the Centre for Spectatorship and Audience Research, housed at the University of Toronto.
TANNER SEBASTIAN is working towards his M.A. in English Literature at Ohio University, focusing on British theatre. He earned a B.A. in English Studies/Theatre at Robert Morris University in Moon Township, PA, where he was president of the honorary theatre fraternity Alpha Psi Omega. He has presented this paper in two halves: the first half was presented at the University of Cincinnati as part of the 2016 humanitiesNow conference, and the second as part of the Chesnutt Reading Series at Ohio University, November 2016. In what little free time he has, Tanner extends his love of theatre to acting in community theatre productions and playwriting. His first play, Remembrance, premiered at Robert Morris in 2014 and received an additional production at Slippery Rock University in 2016.
Header Image Courtesy of The Distracted Globe Theatre Company
