phd in theatre history

Ph.D. Theatre and Performance Studies

The doctoral program in theatre and performance studies is an interdisciplinary course of study that prepares students for careers as educators, professors in higher education, publishing scholars and cultural critics.

About the program

The doctoral program offers a rigorous exploration of both theatre history and performance studies through the critical analysis of archival histories, theoretical approaches and performance texts relevant to these interrelated fields.

Applicants who do not hold an undergraduate or graduate degree in theatre (or an equivalent field) may be required to take preparatory coursework prior to admission into the Ph.D. program.

Prospective students

Friday, January 19, 2024 is the school's deadline for best consideration for all M.A. and Ph.D. domestic and international applications.  ​​​​​​​

If you would like to visit the University of Maryland to learn more about our program, please contact: 

Professor Franklin J. Hildy, Ph.D. Director of the M.A. / Ph.D. Program  in Theatre and Performance Studies [email protected]   

Apply to the program

Friday, January 19, 2024  is the school's deadline for best consideration for all domestic and international M.A. and Ph.D. applications. Wednesday, February 14, 2024 is the final deadline for all M.A. and Ph.D. applications. Please see the information below to prepare for the Fall 2024 application. For additional information, please contact:

• Crystal Gaston, TDPS graduate services coordinator: [email protected] OR
• Franklin J. Hildy, TDPS director of M.A./Ph.D. in theatre and performance studies: [email protected]

The University of Maryland’s Graduate School accepts applications through its online application system . Before completing the application, applicants are asked to check the Graduate School  admissions requirements site for specific instructions.

As required by the Graduate School, all application materials are to be submitted electronically:

• Graduate application
• Transcripts
• Statement of purpose
• Letters of recommendation
• Program/department supporting documents ( application requirements )
• Non-refundable application fee ($75) for each program to which an applicant applies (fee eligibility waiver: https://gradschool.umd.edu/feewaiverinformation )

The electronic submission of application materials helps expedite the review of an application. Completed applications are reviewed by an admissions committee in each graduate degree program. The recommendations of the committees are submitted to the dean of the Graduate School, who will make the final admission decision. Students seeking to complete graduate work at the University of Maryland for degree purposes must be formally admitted to the Graduate School by the dean. To ensure the integrity of the application process, the University of Maryland authenticates submitted materials through TurnItIn for admissions.

Requirements

Ph.d. in theatre and performance studies application requirements:.

• You must have earned a four-year baccalaureate degree from a regionally-accredited U.S. institution, or an equivalent degree earned at a non-U.S. institution with at least a 3.0 GPA.
• Applicants for the Ph.D. must also have earned an M.A. or M.F.A. degree from a regionally-accredited U.S. institution, or an equivalent degree earned at a non-U.S. institution with at least a 3.0 GPA.
• All international students must show evidence of acceptable scores on the Test of English as a Foreign Language ( TOEFL ). See information on the International Educational Services website for specific admissions requirements , including minimum TOEFL score.

Please be sure to include the following in your application:

• Three recommenders and their email addresses for the electronic recommendation forms to be sent to them.
• Please consider that we are a program of theatre and performance studies and that our students study both areas, not one or the other. Include information on what attracts you to scholarship, what attracts you to our program (which faculty member or members would you most want to work with, for example) and what your primary research interests are. Consider too that we are dedicated to developing scholar/artists, so indicate what practical areas your skills are in or how you hope to develop such skills while engaged in rigorous scholarly work. How might you use this degree in the future if it does not lead directly to a job in higher education?
• A writing sample that shows your ability to do research.

Information for international graduate students

The University of Maryland is dedicated to maintaining a vibrant international graduate student community. The office of International Students and Scholars Services (ISSS) is a valuable source of information and assistance for prospective and current international students. International applicants are encouraged to explore the services they offer and contact them with related questions.

The University of Maryland Graduate School offers admission to international students based on academic information; it is not a guarantee of attendance. Admitted international students will then receive instructions about obtaining the appropriate visa to study at the University of Maryland, which will require submission of additional documents. Please see the graduate admissions process for international applicants for more information.

Financial assistance

The school is committed to fully funding all graduate students accepted into its programs and makes every effort to meet that goal. If you are unable to pursue your education without financial support, check the appropriate box on the application form and note this in your statement of goals, research interests and experience.

Opportunities for financial support are available to graduate students in three forms: fellowships, assistantships and loans. Research grants are also available to our graduate students.

Fellowships

Some types of financial aid for outstanding students, such as the Flagship Fellowship program sponsored by the Graduate School, must be applied for by the school on your behalf. To be considered for these special awards, we recommend you complete the application process by December 15th.

Fellowships can provide full-time funding for up to two years and include:

• Stipends of approximately $21,930 to $24,360 paid 50 percent at the start of fall and winter terms.
• Tuition waivers (tuition remission) for 10 hours of course credit in fall term; 4 hours of course credit in January term and 10 hours course credit in spring term.
• A supplement of 50 percent on student health insurance.

Half fellowships and summer research fellowships are also offered as supplements to other forms of funding.

Assistantships

Assistantships can provide full-time funding for up to four years for Ph.D. students. Full assistantships require 20 hours of work per week and include:

• Stipends of approximately $25,500 paid bi-weekly.
• Tuition waivers (tuition remission) for 10 hours of course credit in the fall term; six hours of course credit in the January term, and 10 hours of course credit in the spring term.PhD Theatre and Performance Studies.
• A supplement of 80% on employee health insurance.

Half assistantships (10 hours of work per week) are also offered as supplements to other forms of funding.

Loans are arranged through the Office of Financial Aid and can be subsidized or unsubsidized. Please visit their website for criteria and deadlines.

The Graduate School encourages graduate students and postdoctoral fellows to seek funding for their work and research at the University of Maryland, College Park. Students may seek funding for a variety of needs including research, stipend support and travel to meetings or conferences. The Graduate School lists various funding sources for all disciplines.

Grants and awards

To find out about other funding opportunities, please visit the ARHU website page for fellowships, grants and awards .

For questions related to the admissions process, prospective students may contact the Graduate School .

If you have any questions about the Ph.D. in theatre and performance studies program or application, please contact Franklin J. Hildy, TDPS director of M.A./Ph.D. in theatre and performance studies at [email protected] . 

Current Students

Requirements for degree completion.

The Ph.D. program in theatre and performance studies is designed to be completed in four years of full-time study. If necessary, students will be assisted in applying for funding from other sources to cover additional years.

The program requires a minimum of 58 credit hours beyond an M.A. or M.F.A. degree, 40 hours of which must be taken on campus. Students are normally advanced to candidacy in their third year, at which point they are classified as ABD (“all but dissertation”). This timeline must be followed for students to be classified as “making satisfactory progress” towards their degrees. The Graduate School allows up to a total of five years to advance to candidacy. Failure to advance within five years will result in the student’s removal from the program. Students who must extend their time to advance to candidacy are advised to check the “Full-Time Status” section for the website of the Office of the Registrar to see the difference between course units and course credit hours to ensure they do not fall below full time status.

The Graduate School also requires that a Ph.D. be completed within nine years of entry into the program. After nine years, credits earned from coursework are invalidated and the student must start over. In certain circumstances, students may apply for a one-year extension, and may apply for this two times (thus allowing a maximum two-year extension). If two extensions are requested and granted, this could potentially allow up to 11 years to complete the degree.

View the  one-page course description and credit requirements for the Ph.D. in theatre and performance studies program .

40 credit hours of the required minimum of 58 credit hours required for the Ph.D. are generally taken in the first two years at a rate of ten credit hours per semester (three 3-credit hour courses and one 1-credit hour course). Each student may also take up to four credit hours of coursework during the winter term, thereby reducing the load in later semesters or allowing a broadening of their education. Graduate-level courses in TDPS are not available in the summer. Students with graduate assistantships should never take more than 10 credit hours in any fall or spring semester or more than four credit hours in any winter term, and will be charged for any extra credit hours if they do so.

For details about coursework requirements, please see the Ph.D. in theatre and performance studies handbook . 

Comprehensive exams

Ph.D. comprehensive exams are intended to assess a student’s overall level of knowledge in the fields of theatre and performance studies. They go beyond the exams taken during coursework and are designed to test a student’s ability to integrate knowledge gathered across a range of courses. They survey the breadth of a student’s knowledge of theatre and performance studies in general, knowledge students are expected to acquire above and beyond what is covered during coursework.

For details about comprehensive exam requirements, please see the Ph.D. in theatre and performance studies handbook . 

Qualifying examination and advancement to candidacy

To advance to candidacy, students will form a dissertation committee, take the qualifying examination (consisting of two parts: a literature review and a dissertation prospectus) and defend the qualifying examination.

For details about qualifying exam (literature review and prospectus) requirements, please see the Ph.D. in theatre and performance studies handbook . 

Dissertation

Under the supervision of their advisor, the doctoral candidate conducts research and writes a dissertation. The candidate should follow the prospectus approved by the dissertation committee. While aspects of its scope and content may grow and evolve, any significant changes in the dissertation plan may require a new draft of the prospectus to be approved by the dissertation committee.

Once the dissertation has been completed, the candidate must defend the dissertation orally.

For details about dissertation requirements, please see the  Ph.D. in theatre and performance studies handbook .

Ph.D. in Theatre and Performance Studies Handbook and Graduate Catalog

View the  Ph.D. in theatre and performance studies handbook . 

For more general information about graduate requirements, fees and registration, see UMD's Graduate Catalog: ​ http://apps.gradschool.umd.edu/catalog/ .

Dissertations

Dissertations in progress.

• Pourzal, Kristopher . "Dancing In and Out of Place: Black Concert Dance Histories and New York City's Clark Center, 1959-1989." Chair: James M. Harding .
• Sturges, Melissa Lin . “The Intoxicated Stage: Modernist Theatres of Addiction.” Chair: James M. Harding .
• Lockley, Gianina K . “Explicating the Detroit and Zimbabwe Jit: On Blackness, Being, and Performance.” Chair: Faedra Chatard Carpenter.

Completed dissertations

• Haeri, Q-mars Mazandarani.    “Popular Theater in Iran: A Social History of Lalehzari Performances.” Fall 2023. Chair: Franklin J. Hildy.
• Ealey, Jordan . "The Songs of Her Possibilities: Black Women-Authored Musicals from the Nineteenth Century to the Present." Spring 2023. Chair: Faedra Chatard Carpenter.
• Kaleba, Casey.  “The White Arm in the Smoke: The Meaning of Theatrical Violence on the Victorian Stage.”  Spring 2023. Chair: Franklin J. Hildy.
• Barr, Lindsey . "Making Madness on Stage: American Musical Theatre Since the Americans with Disabilities Act." Spring 2023. Co-Chairs: Caitlin Marshal. and Faedra Chatard Carpenter.
• Miller, Alexander Williams . "The Performance of Remastery in Theatre and Media." Spring 2023. Chair: James M. Harding.
• Strange, Jared . "After Bend It Like Beckham: Soccer in 21st Century Theatre and Performance." Spring 2023. Chair: James M. Harding.
• Thomas, Laronika "Civic Dramaturgy: Cultural Space, Artistic Labor, and Performances of Urban Planning in 21st Century Chicago" Fall 2022. Chair: James M. Harding.
• Demmy, Tara Noelle.  “The Comedy Propaganda Machine: The Soldier Sketch Writing Contest of World War II.” Spring 2022. Chair: Franklin J. Hildy. 
• Hedges, Allison.  “Spoken Words, Embodied Words: A New Approach to Ancient Egyptian Theatre.” Spring 2022. Chair: Franklin J. Hildy. 
• Holley, Kelley.  "Experiencing Place: Dramaturgies of Site-specific Performance." Spring 2022. Chair: Faedra Chatard Carpenter.
• Scrimer, Victoria.  “Beyond Resistance: Performing Protest in a Postdramatic Age.” Spring 2022. Chair: James M. Harding. 
• Mandracchia, Christen. “The Broadwayfication of Disney: A Production History of Beauty and the Beast from Film to Stage.” Fall 2021. Chair: Franklin J. Hildy.
• Walker, Jonelle. "Women in White: Performing White Femininity 1865-Present." Fall 2021. Chair: James M. Harding.
• Chu, Po-Hsien. "The Experimental Aesthetics of Global Sinophone Theatre: The Present, the Absent, and the Avant-Garde." Summer 2021. Chair: James M. Harding.
• Gerdsen, Jenna. “Huikaʻi Moʻo ʻōlelo: Theatre in Hawai‘i during the 21st Century.” Summer 2021. Chairs: Faedra Chatard Carpenter and Esther Kim Lee.
• Ridley, Leticia R. “Fleshy Matters: Fragmentary Performance and Hypervisible Renderings in Black Women's Popular Culture.” Summer 2021. Chair: Faedra Chatard Carpenter.
• Stevens, Fraser. "Cultural Camouflage/Suspicious Behaviour: Performing Identities in WWII Espionage." Spring 2021. Chair: James M. Harding.
• Crowley, Patrick. "The Life and Death of Living Stage: Towards a Rebirth of Radical Theatre in the United States."  Fall 2020. Chair: James M. Harding .
• Balasundram, Jeeta. “Recapturing the Essence of Shakespeare’s Plays through Original Practices: A Case Study on The New Shakespeare Tavern in Atlanta, Georgia and the American Shakespeare Center in Staunton, Virginia." Spring 2020. Chair: Laurie Frederik.
• Fallica, Elisabeth. “Of Flesh and Feathers: A Study of Artistic Labor and the Politics of the Sensuous in New York Neo-Burlesque.” Spring 2020. Chair: Laurie Frederik.
• Gray, Les. "Moving Pain Home: Cultural Production and Performance Out of Black Trauma and Terror." Spring 2020. Chair: James M. Harding.
• Gregory, David. "Musical Theater in Spain and its Spectacular American Roots." Spring 2019. Chair: Laurie Frederik.
• Ginder, Brittany. "Of Muses and Monstrosities: English Travestie Performances of the Eighteenth Century."  Spring 2018. Chair: Esther Kim Lee.
• Long, Khalid.  "Staging Black Women’s Histories: Recovery and Recuperation in the Theatre of Glenda Dickerson." Spring 2018. Chair: Faedra Chatard Carpenter.
• Mantillake, Sudesh.  "Colonial Choreography: Staging Sri Lankan Dancers during British Colonial Rule from the 1870s-1930s." Spring 2018. Chair: Esther Kim Lee.
• Nixon, Adam.  "Film, Television, and the Digital Age." May 2018. Chair: Laurie Frederik.
• Shaeffer, Adam.  "Building Public(s): The Early History of the New York Shakespeare Festival." Spring 2018. Chair: Franklin J. Hildy.
• Thompson, Sara.  "Craft Beer, Vintage Gear, and Shakespeare: A Study of the Postmodern Hipster, the New York Shakespeare Exchange, and the Production of Cultural Capital in the 21st Century."  Spring 2018. Chair: Esther Kim Lee.
• Wilson, Matthew.  "Moving from the Archive: Historiography and 'Authenticity' in Commedia dell'Arte Performance." Spring 2018. Chair: Franklin J. Hildy.
• Banapoulou, Christina. "Tragedy and Indebtedness in Contemporary Greece: Deleuze, Guattari and Performances of Transnational Power and Resistance Before and After the Referendum of 2015." Fall 2017. Chair: James Harding.
• Boynton, Michael.  "Performing Nerd:  The American Nerd, Popular Culture, and Identity Formation. Ph.D. dissertation, University of Maryland, College Park. School of Theatre, Dance and Performance Studies." Fall 2017. Chair: Faedra Chatard Carpenter.
• Davis, Allan.  "Organizing Whiteness: Racial Formation through Gendered Leisure and Amateur Performance in the Drama League of America." Spring 2017. Chair: Esther Kim Lee.
• Kaplan, Jeffrey.  " A Show of One’s Own: Dorothy Sands and the Rise of Solo Performance in America." Spring 2017. Chair: Faedra Chatard Carpenter.
• Krenek, Jessica.  "Sexuality, Gender, and the Performance of Wrestling Fan Culture." Spring 2017. Chair: Faedra Chatard Carpenter.
• Warheit, Emily. "Forum Theatre and Theatre for Development in East Africa." May 2017. Chair: Laurie Frederik.
• Hesla, James.  "The Idiosyncratic Body: Clown Theory and Practice." March 2016. Chair: Laurie Frederik.
• Spanos, Kathleen. "Dancing the Archive: Rhythms of Change in Post-Volcano Identities on Monsterrat, West Indies." December 2015. Chair: Laurie Frederik.
• Gavrila, Rebecca.  "'That Wasn’t Just a Party': Re-Considering the Works of Robert Chesley." Fall 2014. Chair: Faedra Chatard Carpenter.
• Dawn, Karalee. "Today We are All Scottish: Highland Festivals and the Construction of National Identity." February 2014. Chair: Laurie Frederik.
• Shifflett, Matthew.  "Ideologies of Family and Empire in Eighteenth-Century Circum-Atlantic Performance." Spring 2014. Chair: Heather Nathans.
• Tobiason, Aaron.  "So as to Compass the Interest: Artisan Dramaturgy, Copyright Reform, and the Theatrical Insurgency of 1856." Spring 2014. Chair: Heather Nathans.
• Alman, Elizabeth.  "Shakespeare's Stage in America: The Early History of the Folger Shakespeare Theatre." Spring 2013. Chair: Franklin J. Hildy. 
• Derr, Ashley.  "Understanding Shakespeare to Understand America: The NEA's Shakespeare in American Communities Initiative." Spring 2013. Chair: Franklin J. Hildy. 
• Thompson, Robert. "The Phenomenology of Spirit Communication: Spiritualist Mediumship in the Eastern United States." February 2013. Chair: Laurie Frederik.
• Steele, Erin. "Material Murders: 'Authenticity' in Early Nineteenth-Century True Crime Melodramas." Fall 2012. Chair: Franklin J. Hildy.
• Chessum, Tracey.  "Sales Pitches from the 'Salesman of Americanism': Selling American Identity in the Comic Operas of John Philip Sousa." Spring 2012. Chair: Heather Nathans.
• Saunders, Annmarie.  "The Quest for a National Playhouse: Early Theatres of Washington, D.C., 1800-1836." Spring 2012. Chair: Heather Nathans.
• Tenner, Natalie. "‘New wine shall be put into old bottles’: Elizabethan Revivals in the time of the Nazarenes and the Pre-Raphaelites." Spring 2012. Chair: Franklin J. Hildy. 
• Poole, Justin Aaron.  "Vienna’s Transnational Fringe: Arts Funding, Aesthetic Agitation, and Europeanization." Spring 2011. Chair: Franklin J. Hildy. 
• Dail, Chrystyna Marta.  "Theatrical Militants: Stage For Action and Social Activist Performance, 1943—1953." Spring 2010. Chair: Heather Nathans.
• Martin, Christopher Tremewan.  "How the Waltz Was Won: Towards a Waltz Aesthetic." Spring 2010. Chair: Faedra Chatard Carpenter.
• Tharp, Richard K.  "How Wide Is Broadway?: The Theatre Guild’s Radio and Television Productions in Post-World War II America." Spring 2010. Chair: Heather Nathans.
• Cole, Carrie J.  "'She Will Not Submit to Be Ignored': Kate Douglas Wiggin and Performing American Femininity at the end of the Nineteenth Century." Spring 2009. Chair: Heather Nathans.
• Messer, Kristen Anne.  "Everyman's No Exit: An Examination of Christian Community-Based Performances Practices on the North America Landscape." Spring 2009. Chair: Franklin J. Hildy. 
• Snyder, Lindsey. "Sawing the Air Thus: Translating Shakespeare into American Sign Language and the Echoes of Rhetorical Gesture." Spring 2009. Chair: Franklin J. Hildy. 
• Castle-Smith, Heidi.  "'I should go near to say he lies with her, yet She’s a Maid.': From Virgins to Whores, Actresses and Portraits 1660 -1737." Spring 2008. Chair: Heather Nathans.
• Du Toit, Simon.  "The Antitheatrical Body: Puritans and Performance in Early Modern England, 1577-1620." Spring 2008. Chair: Franklin J. Hildy. 
• Joyce, Valerie Michelle. "'You can't get a man with a gun' and Other Life Lessons: Biography in the American Musical Theatre." Spring 2008. Chair: Heather Nathans.
• Bain, Carolyn. "Searching for Tennessee:  Identity, Performance and the Theatrical Event - The Tennessee Williams/New Orleans Literary Festival." Spring 2007. Co-chairs: Franklin J. Hildy and John Fugi.
• Clupper, Wendy.  "The Performance Culture Of Burning Man." Spring 2007. Chair: Franklin J. Hildy.
• Masura, Nadja.  "Digital Theatre:  A 'Live' and Mediated Art Form Expanding Perceptions of Body, Place, and Community." Spring 2007. Chair: Franklin J. Hildy.
• Osborne, Elizabeth A.  "Circles of Community, Intersections of Infamy: The Federal Theatre Project’s Regional Successes and Failures." Spring 2007. Chair: Heather Nathans.
• White, Andrew W. "The Artifice   of Eternity: Studies of Representational Practices in the Byzantine Theatre and Orthodox Church." Spring 2006. Chair: Franklin J. Hildy.
• Coyle, Margaret Anne. "'The Sauce is Better Than The Fish': The Use of Food To Signify Class In The Comedies of Carlo Goldoni, 1737--1762." Spring 2006. Chair: Heather Nathans.
• Fisler, Benjamin Daniel.  "The Phenomenology of Racialism: Blackface Puppetry in American Theatre, 1872-1939." Spring 2005. Chair: Franklin J. Hildy.
• Oliver, Robert Michael.  "National Theater Or Public Theater: The Transformation of the Theatrical Geography of Washington, D.C., Circa 1970--1990." Spring 2005. Chair: Catherine Schuler.
• Rothman, Korey.  "Somewhere There's Music: Nancy Hamilton, The Old Girls's Network, and The American Musical Theatre of The 1930s and 1940s." Spring 2005. Chair: Heather Nathans.
• Stewart, Stacey A.  "Nothing Ladylike About It: The Theatrical Career of Anna Elizabeth Dickinson." Spring 2004. Chair: Catherine Schuler.
• Boisseau, Robin Jackson.  "The Women  of The Abbey Theatre, 1897-1925. Spring 2004. Chair: Patti Gillespie.
• Kippola, Karl M.  "Out of The Forrest and Into The Booth: Performance of Masculinity On The American Stage, 1828--1865. Spring 2003. Chair: Heather Nathans.
• Crawford, Brett Ashley.  'Maxine Elliott: An Actress-Producer With Cultural Savvy and Money On Her Mind." Spring 2001. Chair: Patti Gillespie.
• Kaahwa, Jessica Atwooki.  "Theater and Human Rights In Uganda." Spring 2001. Chair: Patti Gillespie.
• Hart, Norman Phillip.  "Life Upon The Wicked Stage: A History  of Musical Biographies In America, 1783-1993. 2000. Chair: Patti Gillespie.
• Choi, Sung Hee.  "Performing The Other: Asians On The New York Stage Before 1970." 2000. Chair: Patti Gillespie.
• Davis, Brook Marie. "Constance D'Arcy Mackay: Playwright, Director, and Educator. Inspiring Women, Children, and Communities Through Amateur Theatre." 1999. Chair: Patti Gillespie.
• Trainor, Patrick W.  "The Aesthetic Principles  of E. Gordon Craig Placed in the Imaginative Context." 1999. Chair: Roger Meersman.
• Black, Cheryl D.  "The Women of Provincetown, 1915-1922. 1998. Chair: Patti Gillespie. 
• Berkeley, Anne R.  "Toward A Critical Aesthetic Praxis: Theorizing Undergraduate Theatre Curriculum For A Culturally Diverse Democracy." 1998. Chair: Roger Meersman.
• Ferris, Julianne.  "University-Based Performing Arts Center: A Delphi Approach." 1998.
• Marecki, Elizabeth.  "Reclaiming Place: The Plays of Clara Lipman Mann 1869." 1998
• Moffitt, Elliott.  "Black American in Theatre: The First Hundred Years. 1998.
• Ammen, Sharon Irene.  "May Irwin's Strategies  of Influence: A Look Back At America's 'Secretary  of Laughter.'" 1997 Chair: Patti Gillespie. 
• Anthony, M. Susan.  "'Some Deed  of Dreadful Note': Productions of Gothic Dramas in the United States,1790 To 1830." 1997. Chair: Patti Gillespie.
• Fliotsos, Anne Louraine.  "Teaching The Unteachable: Directing Pedagogy In Colleges  and Universities  of The United States, 1920 To 1990." 1997. Chair: Patti Gillespie. 
• O'Hara, Michael Mullen.  "Bernard Shaw and The Federal Theatre Project: Plays, Productions,  and Politics." 1997. Chair: Patti Gillespie.
• Olsen, Christopher A.  "The Arts Lab Phenomenon In Great Britain: 1968-1971." 1997. Chair: Catherine Schuler.
• Medford, Gailann Stewart.  "An Examination  of the Development  of Educational Theatre at Selected Historically Black Colleges and Universities in the United States,1867-1990." 1994. Chair: Patti Gillespie.
• Shull, Michael Slade.  "Tinted Shades of Red: The Popular American Cinematic Treatment of Militant Labor, Domestic Radicalism and Russian Revolutionaries, 1909-1929." 1994. Chair: Roger Meersman.
• Barnes, Elizabeth Anne.  "Spatial Contexts for the Shakespearean Soliloquy: 'Macbeth' Adapted from Stage to Film and Television." 1992. Chair: Roger Meersman.
• Housley, Helen Marie.  "To Inherit the Wind: Margo Jones as Director." 1991. Chair: Patti Gillespie.
• Trumbull, Eric Winship.  "Musicals of the American Workers' Theatre Movement 1928-1941: Propaganda and Ritual in Documents of a Social Movement." 1991. Chair: Roger Meersman.
• Belgrade, Paul S. "The Literary Journalism as Illuminator of Subjectivity." 1990. Chair: Patti Gillespie.
• Casey, Jennie Clare Carroll.  "An Analysis of the Drama Reviews of Chicago's Claudia Cassidy, 1925-1965." 1990. Chair: Patti Gillespie. 
• Donahue, Thomas Francis.  "The Genesis of Light Symbol for the Medici Festival of 1589." 1990. Chair: Roger Meersman.
• Greeley, Lynne.  "Spirals from the Matrix: The Feminist Plays of Martha Boesing, an Analysis." 1987. Chair: Patti Gillespie.
• Cornwell, Terri Lynn.  "Democracy and the Arts: The Role of Participation." 1987. Chair: Roger Meersman.
• Cooley, Edna.  "Women in American Theatre 1850-1870: A Study in Professional Equity." 1987.

History/Theory faculty

Carla della gatta.

Associate Professor, School of Theatre, Dance, and Performance Studies

James Harding

Professor, Theatre Scholarship and Performance Studies School of Theatre, Dance, and Performance Studies

2822 The Clarice Smith Performing Arts Center College Park MD, 20742

Franklin J. Hildy

Professor, Theatre Scholarship and Performance Studies Head of History/Theory; Head of MA/PhD in Theatre and Performance Studies, School of Theatre, Dance, and Performance Studies

2828 The Clarice Smith Performing Arts Center College Park MD, 20742

Maura Keefe

Associate Professor, Dance Performance and Scholarship Director of the School, School of Theatre, Dance, and Performance Studies

2811 The Clarice Smith Performing Arts Center College Park MD, 20742

Caitlin Marshall

Senior Lecturer, Theatre Scholarship and Performance Studies

2810 The Clarice Smith Performing Arts Center College Park MD, 20742

Van Tran Nguyen

Lecturer, Theatre Scholarship and Performance Studies

2816 Clarice Smith Performing Arts Center College Park MD, 20742

Affiliate faculty

The research expertise of our affiliate faculty brings a deeper understanding to histories and theories of performance, art and culture. Affiliate faculty collaborate with our TDPS faculty through classes, academic talks, seminars, post-show talkbacks and other events. They may also serve on graduate thesis and dissertation committees.

Jyana S. Browne , Japanese, School of Languages, Literatures, and Cultures

• Ph.D. (University of Washington, 2017)
• Studies the performance and cultural history of early modern Japan, 18 th century puppet theatre in Osaka, how early modern forms are altered and adapted in contemporary performance

La Marr Jurelle Bruce , Department of American Studies

• Ph.D. in African American and American Studies (Yale University)
• Studies affect theory, critical race and ethnic studies, cultural studies, disability studies, performance studies, pop culture, queer theory

Merle Collins , Department of English

• Ph.D. from London School of Economics and Political Science (1990)
• Writer of fiction, poetry, and critical essays, cultural expression, Caribbean, Grenada

Ronit Eisenbach , School of Architecture, Planning and Preservation

• M. in Architecture (Cranbook Academy of Art, 1992)
• Studies spatial practice, perception of subjective, invisible, and ephemeral objects

Jason Farman , American Studies

• Ph.D. in performance Studies and Digital Media (University of California, Los Angeles, 2006)
• Studies embodiment, performance studies, space and place
• Website: www.jasonfarman.com

Julius Fleming, Jr. , English

• Ph.D. in English, graduate certificate in Africana Studies (University of Pennsylvania)
• Studies Afro-Diasporic literatures and cultures, performance studies, black political culture, diaspora, and colonialism

Saverio Giovacchini , History

• Ph.D. (University of Wisconsin, 1970)
• Studies transnational histories of film, US and Western European film industry, film culture, genres, and post-World War II cultural history

Christina Hanhardt , Women’s Studies

• Ph.D. in American Studies (New York University)
• Studies U.S. social movements and cities, politics of stigma, punishment, and uneven development, queer studies and LGBT activism

Siv Lie , Ethnomusicology, School of Music

• Ph.D. in Ethnomusicology (New York University, 2017)
• Studies cultural production and minority rights, Romani (“Gypsy”) music and language, ethnorace, citizenship, and Jazz Manouche in France

Alexis Lothian , Women’s Studies

• Ph.D. in English (University of Southern California, 2012)
• Studies queer theory, cultural studies, digital media, and speculative fiction
• Website: www.queergeektheory.org

Michael Olmert , Department of English

• Ph.D. in English (University of Maryland, College Park)
• Studies, folklore, Shakespeare, Modern British Drama

Jan Padios , American Studies

• Studies postcolonialism in the Philippines, also technology, science, and emotion

Iván Ramos , Women’s Studies

• Ph.D. in Performance Studies (University of California, Berkeley, 2015)
• Studies gender and sexuality, Mexican and Latino/a/x artists, Latino/a American aesthetics in relation to contemporary and historical violence

Fernando Rios , Ethnomusicology

• Ph.D. in Ethnomusicology (University of Illinois at Urbana-Champaign)
• Studies Latin American with concentration on the expressive practices of the Andean countries, especially Bolivia, folkorization and nation building, globalization, music and political movements

Laura Rosenthal ,  Department of English

• Ph.D. (Northwestern, 1990)
• Studies playwrights in early modern drama, authorship, gender, prostitution in 18 th century literature and culture

Psyche A. Williams-Forson , American Studies

• Ph.D. in Government and MA in Latin American Studies
• Studies cultural studies, material culture, food, social and cultural history of the U.S.

John Lawrence Witzleben , Ethnomusicology

• Ph.D. in Ethnomusicology at University of Hawaii, Manoa and University of Pittsburgh
• Studies Southeast Asia, Chinese instrumental performance, intercultural fusion, gender, popular music and jazz

Latest news from M.A./Ph.D. theatre and performance studies

Tdps faculty and alums win 2024 helen hayes awards, outstanding arhu graduate students honored at awards reception, tdps faculty nominated for 2024 tony awards, amith chandrashaker and jared mezzocchi nominated for lucille lortel awards, dead outlaw and the outsiders top list of 2024 drama desk awards nominations, hear ye, but you can’t hear me can this program make live theater more accessible, ‘are we at war yet’ narrates the turmoil of war, ‘are we at war yet’ at university of maryland captures a global unease, with terps’ captioning system, a silent revolution could take center stage.

Welcome to our 2023 entering students, Wesley Cornwell, B.A. Princeton, M.A. Harvard; Kristin Perkins, B.A. Brigham Young, M.A. Texas; Aisha Zamor, B.A. Brown, M.A. Brandeis

Congratulations to Laurie Bashford, Charles Green, and Jehbreal Jackson for passing Ph.D. Oral Examinations in April, 2023!

Congratulations to Annie Potter, for successfully defending her dissertation, “The Musical as History Play: Form, Gender, Race, and Historical Representation,” May 2023

Congratulations to Anna Waller for successfully defending her dissertation, “Mass Performance and the Dancing Chorus Between the Wars, 1918-1939,” May 2023

Congratulations to Ilana Gilovich-Wave, for successfully defending her dissertation “Form and Conformity: Bodysnatching and Contemporary Anglophone Drama, 1996-2022,” April 2023

Congratulations to Abby Noelle Schroering, for successfully defending her dissertation “Cultivating Collectives: Performance and Ecology in the Anthropocene,” April 2023

Theatre and Performance Colloquium: Mondays 6:15 pm (in-person and hybrid). Open to faculty and students in the Ph.D. Program in Theatre and Performance

Ph.d. program in theatre and performance.

The Ph.D. Program in Theatre and Performance at Columbia University encourages students to explore the reciprocal relationships between performance and scholarship, criticism and creation, theory and practice in one of the world’s great centers of theatrical performance, New York City. The program is designed at once to provide the opportunity for students to familiarize themselves with the prevailing traditions of Western and non-Western drama, theatre, and performance scholarship, as well as to identify a specific trajectory of individual research. Overseen by an interdepartmental faculty committee–drawn from the Department of English and Comparative Literature, the Theatre Program of the School of the Arts, the Institute for Comparative Literature and Society, various language departments, Philosophy, Classics, and the Barnard College Department of Theatre–the program encourages students to pursue interdisciplinary research across the wide spectrum of theatre and performance studies. The relatively small size of the program ensures a close working relationship with supervising faculty; doctoral students in Theatre and Performance often work with doctoral students in other humanities fields, as well as with Theatre Program M.F.A. students in directing, dramaturgy, and playwriting. Doctoral students are admitted with a six-year package of funding, which combines both fellowship and teaching support. Ph.D. students from the program have been appointed to tenure-track positions in a range of fields (English, Theatre, Performance Studies) at Stanford, Princeton, Boston University, Indiana University, King’s College London, The University of Texas at Austin, Skidmore College, the Ohio State University, the University of Chicago, Carnegie Mellon University, the University of Michigan, Vassar College, and elsewhere. Several students from the program have also gone on to creative careers in fiction, playwriting, screenwriting, and directing.

Degree Programs: Full-Time: M.A., M.Phil., Ph.D.

Co-Chair: W. B. Worthen, Ph.D. Alice Brady Pels Professor in the Arts 506 Milbank Hall Barnard College 212-854-2757 [email protected]

Co-Chair: Julie Stone Peters, Ph.D. H. Gordon Garbedian Professor of English and Comparative Literature 602 Philosophy Hall 212-854-3215 [email protected]

Theatre Arts & Performance Studies

Ph.d. program.

The Ph.D. Program in Theatre and Performance Studies at Brown University offers a rigorous environment for pursuing doctoral research.

Taking a broad-spectrum approach to the histories, theories, and methods of theatre and performance studies from a global perspective, the Ph.D. program trains doctoral students to use performance as an analytical lens to explore the labor of mimesis in the social.

Cross-currents

Brown’s environment is alive with the intersections of performance practice and theory: Ph.D. students benefit from formal and informal cross-currents with:

• Brown’s acclaimed  MFA Playwriting Program
• Brown/Trinity MFA Programs in Acting and Directing  (offered in consortium with the Tony Award winning  Trinity Repertory Company ),
• Brown Arts Institute
• Rhode Island School of Design (RISD )

Brown’s  libraries  provide exceptional special collections for performance-related research, including:

• Harris Collection of American Drama and Poetry
• Smith Collection of Conjuring, Magicana, and Popular Entertainment
• Albert-Bernard Shaw Collection

Open Graduate Education Program

Our students take full advantage of Brown’s unique interdisciplinary opportunities—including the  Open Graduate Education Program , which enables doctoral students to apply to pursue a Master’s degree in a secondary field of study at Brown—and gain teaching experience through a variety of opportunities in and beyond the department.

How to Apply

_______________________

Applications are due   January 4, 2024   and must be submitted via the Graduate School’s Online Application portal . You can find detailed instructions about the application process and components on the Graduate Website.  For other questions refer to The Graduate School’s application FAQ .

Application requirements.

• A statement of purpose (also called a personal statement, generally 2-3 pages) that should address your current academic research interests, why you wish to pursue a Ph.D. in Theatre and Performance Studies, and how you see your work benefiting from the broader context of the department and Brown as a whole. The most successful personal statements make a compelling case for why your research would best be served by our program given the current composition of our faculty and the resources that are available at Brown. 
• An academic writing sample (10- 25 pages). This is an especially  important element of the application, so be sure to submit an example of your strongest scholarly writing to date. 
• Three letters of recommendation. 
• Transcripts from all academic institutions where you have previously studied (graduate and undergraduate).

International applicants whose native language is not English must also submit an official Test of English as a Foreign Language (TOEFL) or International English Language Testing System (IELTS) score. 

• The GRE is no longer required in order to apply for the Ph.D. Program in Theatre and Performance Studies at Brown.

Financial Aid

Brown guarantees 6 years of funding for all admitted Ph.D. students, which includes full tuition remission, a generous living stipend, and health insurance. This financial support applies to both domestic and international students admitted to our doctoral program. Funding is provided through a combination of fellowships (two years) and teaching/research assistantships (four years). Our students have also been very successful in securing funding for their studies, as needed, through external and internal fellowships and grants. Further details about financial support is available through Brown’s Graduate School website  and the  Graduate Student Funding and Support website .

Frequently Asked Questions

Students in our Ph.D. program have many opportunities to gain teaching experience during their time at Brown. Typically students in their second year serve as Teaching Assistants for undergraduate courses in the Department of Theatre Arts and Performance Studies. More advanced students can develop and teach their own classes. Our students find additional opportunities to hone their pedagogical skills through Brown's  Sheridan Center for Teaching and Learning ,  Summer@Brown , the  Brown/Wheaton Faculty Fellows Program , and elsewhere.

As an intentionally small program with an emphasis on intensive mentorship and advising, we accept a cohort of approximately 2 to 3 students per year. Most of our Ph.D. students complete the degree within 5 to 7 years.

We welcome applicants who are interested in all aspects of theatre and performance studies research. The best way to learn about the range of research topics and methods that are being pursued in our program is by looking through the profiles of our  current faculty  and  Ph.D. students .

Yes. We accept students who have obtained Bachelor's degrees as well as students who have previously completed an MA or MFA. Depending on the field of study and with the approval of our graduate faculty, students may receive credit toward the Ph.D. degree for previous graduate coursework completed at other institutions.

Graduates of our PhD program have achieved a stellar placement rate into academic positions. Many have gone on to become leaders in the field, holding tenured or tenure-track positions at Yale, Tufts, NYU, UCLA, Washington University-St. Louis, Colgate, Emerson, the University of Pittsburgh, and the University of Rhode Island, among other institutions. A  recent national study of Theatre and Performance Studies graduate programs  showed that Brown was the top program in terms of placement, with 100% of our graduates holding tenure-track positions.

Please do not email the department with technical questions or requests to troubleshoot your online application submission. For questions about the application process (including how to submit TOEFL scores, Letters of Recommendation, and other technical matters), please contact the Graduate School directly at  a [email protected] .

Patricia Ybarra

Program handbooks.

• TAPS Doctoral Program Handbook (PDF)
• All TAPS Graduate Handbooks

Recent News

Phd student şeyda nur yıldırım published in theatre research international vol. 38, no. 3 (2023)., taps at the american society for theatre research conference, phd candidate marlon jiménez oviedo published in global performance studies.

PhD in Theatre and Performance Studies

The graduate program in Theatre and Performance Studies trains scholar-artists to develop projects in theatre history, performance studies, critical theory, and cultural analysis in various performance traditions and global contexts. Our faculty specialize in illuminating how social and cultural formations — particularly gender, race, indigeneity, ethnicity, sexuality, colonization and class — inform performances both on and off stage. In turn, we support and celebrate interdisciplinary scholarship from our graduate students that centers shared concerns of performance, such as the body, repetition, liveness, and visuality, while at the same time taking up concerns in outside fields of inquiry. As a faculty, we approach performance through diverse methods, such as historiography, ethnography, and critical analysis of performance texts. We welcome students from underrepresented communities, and we believe that people of color, disabled people, queer and trans folks, and first-generation scholars produce new ways of seeing and knowing that facilitate thinking and working in a diverse classroom.

Current graduate students can consult The Graduate Handbooks for all requirements, milestones, and department procedures.

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Ph.D. Program

/  program of study /  people /  student work /  how to apply, / graduate tuition & financial aid, we train theatre and performance scholars, preparing our graduates to work at the highest levels of the field as  university professors, arts administrators, dramaturgs, and critics..

The Ph.D. program provides comprehensive training in theatre and performance scholarship, embracing a wide definition of performance while maintaining rigorous training within a discipline core. The five-year plan of study offers opportunities to engage with a full range of Western and non-Western periods from the ancient to the contemporary, from the traditional to the avant garde.  Our small program is distinguished by the individualized attention and support that each student receives, both from faculty and colleagues, during their time here.

The Ph.D. program is committed to the School of Drama’s Anti-Racist Action Plan, including decentering whiteness in our teaching of theatre history and performance studies. “[W]hen we say we value tradition, we mean that we value the long tradition of theatrical storytelling from all cultures, and that we do not value the traditions of exclusion, marginalization, and colonialism.” Read the full Anti-Racist Action Plan here: https://drama.washington.edu/uw-school-drama-leadership-anti-racist-action-plan .

PROGRAM OF STUDY

Our PhD is a five-year program:

WHAT YOU WILL STUDY AND HOW YOU WILL STUDY IT

As a student you'll take a minimum of 12 graduate seminar courses from your home department of the School of Drama. Seminars provide thorough preparation in the major issues, periods, contemporary, critical, and theoretic approaches in the field.

The balance of your course schedule will consist of courses offered outside of the department , including fulfillment of a foreign language requirement . E ach student is required to have a working knowledge of a second language. A working knowledge is defined as skills enough to allow one to conduct research in that language. Additional coursework will be selected in consultation with your faculty, based on your interests and needs. Because the University of Washington is a Research I university, the range of courses available to our Ph.D. students is immense. 

Our program is a founding member of the  Center for Performance Studies , hosted by the School of Drama. The Center is a consortium of graduate faculty from across the disciplines who all teach in the area of performance studies. Our constituent members range from more traditional departments, like Theatre, Dance, and English, to Comparative Literature, Anthropology, Ethno-musicology, Germanics, Classics, History, Spanish-Portuguese, the Asian Center, Social Work, and others, who all offer seminars in the study of performance and performance culture. Visit the Center for Performance studies website to view current and past course descriptions.

DISSERTATION

The fourth and fifth years of the program are devoted to writing a dissertation under the guidance of a faculty advisor. Recent doctoral dissertations have explored semiotics, feminism, medieval traditions, American theatre history, contemporary English and German drama, ethnicity and performance theory, Latin American/Latinx performance, historiography, and Asian performance. Click here to view current and past dissertations.

Our program is dedicated to helping our students establish competence in teaching during their time here. Our Ph.D. students teach an array of undergraduate courses, including Drama 101: Introduction to the Theatre, a large, lecture course with smaller discussion sections, Drama 103: Theatre Appreciation, an online course, and Drama 201: Plays and Styles, a seminar-style course. To view course descriptions for these classes, visit the School of Drama course catalogue .

CONNECTING WITH THE PROFESSIONAL WORLD

You won’t have to wait for graduation to begin building your connections to the professional world. Our students are encouraged to publish and attend conferences during their time here. Our Ph.D. students, alongside every member of our faculty and several alumni,  regularly present work at meetings of the American Society for Theatre Research (ASTR), the Association for Theatre in Higher Education (ATHE), the Mid-America Theatre Conference (MATC) and other national and international organizations.

WHO WE ARE LOOKING FOR

Most applicants have theatre degrees and production experience, but on-going production work is not an integral part of the doctoral program. Our enrollment is small, and individual attention to scholarly projects --including private tutorials--shapes each student's experience throughout their course of study. Whatever their particular interests, Ph.D. students are expected to develop the broadest and deepest understanding of theatre and performance, theory, and history.

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Doctor of Philosophy in Theatre and Performance Studies

The PhD program in Theatre and Performance Studies prioritizes the integration of scholarship with teaching and artistic practice in order to prepare students to be competitive candidates for academic positions at a variety of institutions, post-doctoral research opportunities, and employment sectors beyond academia. In line with the department’s intellectual vision, the program integrates theory and practice and focuses on underrepresented groups and areas of research, including migration, disability studies, race, gender, sexuality, religion, and transnationalism, across historical, historiographical, literary, performance, and practice-based research methodologies.

The program integrates scholarship with experiential learning opportunities through a curricular requirement called the Immersive Practice Credential. Each student develops a 12-15 credit program of individualized study focused an area of artistic practice, such as directing, dramaturgy, or playwriting, or a professional career outside of the academy, such as Public Humanities or Education and Community Engagement. In their Immersive Practice Credential coursework, students work with Theatre Arts faculty and MFA students as well as pursue professional training and internship opportunities outside of the university.

Mentored by faculty, each student develops their pedagogy through scaffolded teaching opportunities. These experiences allow students to acquire and practice pedagogical skills in smaller practice-based classes as well as larger lecture and discussion courses in theatre history, performance studies, and script analysis for majors and non-major

You can find more information about admissions, the program, curriculum, current students, and alumni at the links below:

Graduate Application Information

Graduate Handbook

Graduate Courses

Current Graduate Students

For information on the application process, please contact LJ Woolcock Graduate Student Administrator [email protected]

For questions or information regarding the Theatre Arts Graduate Programs, please contact:

Michelle Granshaw Director of Graduate Studies [email protected]

Graduate Programs

Theatre arts and performance studies.

The Theatre Arts and Performance Studies Ph.D. program takes a broad–spectrum approach to the study of histories, theories and methods of theater and performance.

The program offers a rigorous environment for pursuing doctoral research. Taking a broad-spectrum approach to the histories, theories, and methods of theatre and performance studies from a global perspective, the program trains doctoral students to use performance as an analytical lens to explore the labor of mimesis in the social. The PhD program provides students with a firm grasp of the fields of theatre studies and performance studies, an understanding of the historical underpinnings of theatre and performance practices globally, and an ability to employ performance theory and criticism in the service of scholarship across a range of objects of study.

Brown’s environment is alive with the intersections of performance practice and theory. PhD students benefit from formal and informal cross-currents with Brown’s acclaimed MFA Playwriting Program, the Brown/Trinity MFA Programs in Acting and Directing (offered in consortium with the Tony Award winning Trinity Repertory Company), the Brown Arts Institute, and the Rhode Island School of Design (RISD). Brown’s libraries provide exceptional special collections for performance-related research, including the Harris Collection of American Drama and Poetry, the Smith Collection of Conjuring, Magicana, and Popular Entertainment, and the Albert-Bernard Shaw Collection. Our students take full advantage of Brown’s unique interdisciplinary opportunities—including the Open Graduate Education Program, which enables doctoral students to apply to pursue a Master’s degree in a secondary field of study at Brown—and gain teaching experience through a variety of opportunities in and beyond the department.

Application Information

Application requirements, gre subject:.

Not required

GRE General:

Writing sample:, dates/deadlines, application deadline, completion requirements.

Required Courses for the Ph.D.: Students who do not yet have a Masters in the field and expect to acquire an A.M. in the process of doctoral candidacy at Brown will complete at least 15 courses. Two of these may be independent studies. Students who already have an A.M. or M.F.A degree from another institution will work with the Director of Graduate Studies to determine how many of their A.M. or M.F.A. credits will transfer toward Brown's Ph.D. degree. For students for whom all credits are accepted the following will be required. For the Ph.D. degree, at least 8 courses beyond the Master's Degree are required. Two of these may be independent studies. PhD students are required to take TAPS 2100 Seminar in Performance Studies and Theatrical Theory (offered every other fall) once. PhD students are also expected to take the TAPS Graduate Seminars offered each semester on rotating topics by different members of the Department's Graduate Faculty. The remaining courses may be chosen from course offerings throughout the university. To qualify for doctoral candidacy all students will be expected to meet a foreign language requirement and take a comprehensive exam. For the foreign language requirement, either the student must prove that s/he has developed reading competency in two foreign languages, or s/he must take one foreign language to the level of research proficiency. Comprehensive exams will be taken three to six months after the completion of course work, and conversation about the exams should begin with the committee chair before the last semester of coursework. The exams consist of one general exam on theatre and performance history and three specialized essay exams based on reading lists prepared by the student and augmented and approved by the student's committee to reflect areas of scholarly interest. Upon passing the comprehensive exams, a scholarly dissertation is required. The dissertation, formatted in either Chicago or MLA style, will be subject to an oral defense. Please see program website for more detailed description of requirements.

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The PhD program in Theatre History and Performance Studies is distinguished by its emphases on historical and contemporary engagement with exigencies of mobility, ranging from exile, migration, and diaspora to translation and adaptation. The program prioritizes the transnational, the global, and the decolonial in theatre history and performance studies. Gender, race, ethnicity, and class function as primary areas of scholarly and artistic enquiry across historical, historiographical, literary, performance, and practice-based research methodologies. The program prioritizes the integration of scholarship with teaching and artistic practice.

The PhD program in Theatre History and Performance Studies trains scholars in historiographical methodology; performance studies; critical theory; historical, performance, and textual analysis. By the completion of their training, students are expected to demonstrate fluency with established scholarly paradigms of the field as well as facility with emergent and cross-disciplinary approaches. The rigorous five-year curriculum is comprised of departmental seminars offered by the graduate faculty and complemented by a range of seminars from across the University’s thriving intellectual departments and communities, including History of Art and Architecture, Film Studies, the Center for Latin American Studies, the Global Studies Center, the Gender, Sexuality, and Women’s Studies Program, and the Cultural Studies program, among others. The PhD program mentors a students’ professionalization by actively supporting publication, conference participation, and membership in professional organizations. The program prepares students to participate in and contribute to scholarly conversations nationally and internationally. 

The program’s scholarly training is directly linked to teaching and artistic creation. All PhD students instruct a variety of undergraduate courses under mentorship of the faculty, which may include history, dramatic analysis, and/or performance. The PhD program is integral to the department’s BA’s stated goals of training the next generation of artist-citizens as well as to the creative and critical work of the department’s production season. Graduate students often serve as undergraduate mentors and advisors as well as artistic collaborators with the faculty. Through the Special Option, PhD students are mentored on an individual basis towards enhancing a primary, or developing a secondary, fluency with artistic practice and production processes, most often in the area of directing, dramaturgy, or playwriting. The PhD program welcomes applicants with MAs, MFAs, and other Masters degrees.

The PhD program in Theatre History and Performance Studies develops versatile, flexible graduate students with unique creative and critical aptitudes. Graduates of the program are well-qualified and competitive candidates for academic positions at a variety of institutions, post-doctoral research opportunities, and non-academic employment sectors .

Degree Requirements

A minimum of three years or six terms of full-time residency is required.  It is not possible to complete the degree on a part-time basis.

72 credit hours, of which 24 can be granted for an approved Master’s degree or its equivalent, are required past the BA, made up of courses stipulated in the curriculum and electives (including independent study, directed study, in-training programs, and dissertation credits).

Students are required to demonstrate advanced knowledge in one foreign language sufficient to read criticism and drama in the language and sufficient to allow them to attend a play in the language and understand it reasonably well. The language requirement may be fulfilled in four ways.

# of courses required (list core courses, etc.)

One, Two, or three sections of World Theatre (as designated by the Diagnostic Exam)

Nine seminar-level courses in history, literature, and critical theory of theatre and performance studies. During the first two semesters of a full-time PhD student’s program, she or he must take at least three of these seminars in the Department of Theatre Arts.

At least seven of the nine required courses will be advanced graduate seminars in the Department of Theatre Arts (2000 series). The others may be graduate-level (2000 series) listed in any appropriate University department. Courses labeled “research,” “directed study,” or “independent study” cannot be used to fulfill this requirement, except by approval of the Graduate Faculty. The student’s advisor will regularly monitor selection of courses, and approve the overall sequence chosen. No lower-level undergraduate courses numbered 0001-0999 may be applied toward a graduate degree.

PhD Prelim Evaluation

All students who enter the PhD program are required to take the preliminary examination. Students in their first year of doctoral study must take a minimum of three seminars in the department. Their work in those seminars shall constitute the basis for the prelim exam. The exam is designed to assess students’ critical thinking, facility with methodology, and writing skills as well as ability to articulately discuss the course material in the selected seminars. 


Comprehensive Exam

By the end of their second year, students should begin to consider and discuss with faculty areas for their comprehensive exam that fall into the three categories: Critical Methodologies and Theoretical Discourses; Historical Discourses; Textual Discourses. 
By the beginning of their third year, three areas of study should be approved. Through the comprehensive examination, students demonstrate both breadth and depth in regards to theatre and performance history, theory, and practice.

Proposal/overview

The prospectus proposes the subject and plan for the completion of the dissertation. The graduate faculty member who will serve as chair for the student’s dissertation committee will provide guidance for the completion of the prospectus. Once the committee chair has approved the prospectus, the student will schedule a defense with all of the members of their PhD committee.

Dissertation and Final Examination

The University of Pittsburgh’s  Graduate and Professional Bulletin  outlines the requirements for the final stage of the degree, which is the preparation and defense of a dissertation. This written work, which must embody an extended original investigation of a problem of significance to theatre arts or performance studies, is the capstone to the research program of a student’s training. 

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Theatre & Drama Ph.D.

Ph.d. in theatre + drama.

The Ph.D. program is not accepting applications.

The Ph.D. in Theatre and Drama requires advanced level study of dramatic literature, theatre history, theory and analysis of drama and theatre arts. Students whose previous training has been primarily or exclusively in one area (such as theatre production or dramatic literature) are admitted to the program with the understanding that they will make up deficiencies in those areas in which they have had inadequate prior training.

The emphasis in the doctoral program is on training for research, wide acquaintance with scholarly works, and the accomplishment of significant results in investigations worthy of publication. In addition, it is assumed that you have had or will gain a proficiency in at least one area of theatre production. The course of study you pursue should be supplemented with work in productions and with wide reading and independent research.

Our department is not accepting applications for the Ph.D. program.

Our Theatre + Drama Ph.D. students and alumni are active and engaged. Learn more about our current Ph.D. students and recent Ph.D. graduates .

Preparation

The Ph.D. program presupposes that you will have had sufficient preparation to provide a basis for advanced study. This will normally be provided by a standard M.A. program in theatre containing the following elements:

• 30 hours of graduate work
• At least three courses in the areas of theatre history, dramatic literature, and dramatic theory
• At least three undergraduate courses in the general area of theatre production: one of these must have been in either acting or directing, with another in costuming, lighting, scenic design, or stagecraft

You must accumulate a minimum of 90 semester hours beyond the B.A. degree for the Ph.D. Up to 30 semester hours of graduate work taken elsewhere may be used to meet this requirement.

If you have not taken the production, history, literature and theory courses listed above, you will be expected to take them concurrently with the doctoral program as early as possible. You will be excused from this requirement of formal course work only if you can satisfy the faculty member in charge of the area in question that they have had the equivalent of the minimal course work. Satisfaction can be given through special examination or through reliable evidence, such as a combination of record of experience, letters from former colleagues, interviews, and so on.

If you have not written a formal thesis for the M.A., you must submit some evidence of research and writing skills, such as a substantial term paper.

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PhD in Theatre Studies

Learn in one of the oldest and most respected doctoral program in the country which has produced leading scholars, writers, educators, and administrators in the field.

NOT ACCEPTING EXTERNAL PhD APPLICATIONS FOR 2024-2025

The PhD Program is not currently accepting external applications. Information regarding application processes will be updated in the near future.

What to Expect

The Theatre Studies Program at the University of Illinois Urbana-Champaign offers graduate and undergraduate degrees (BFA, MA, PhD) in the academic study of theatre as a liberal art. Our focus is on the history of theatre, dramaturgy, and the development of dramatic criticism through the ages and across borders, with particular emphasis on American theatre. Established under the guidance of Barnard Hewitt, the program has granted more than 150 degrees to date and has affiliated faculty spanning the campus, from English to Classics, from New Media to Medieval Studies. The program supports students developing a nuanced understanding of the history, literature, and theory of theatre in its social and cultural contexts. The University Library is ranked among the top in the nation for the breadth and depth of its holdings.

Highlights of our Program

• Opportunities to work with Theatre Faculty Affiliates in many different units
• Potential for up to four years of funding
• Build expertise in a range of spoken and lyric dramatic forms: Ancient Greek, Early American, Early Modern, Eastern European, German Theatre, Medieval Drama, Multimedia Music Theatre, and Opera
• Curriculum oriented toward historiography, production history, criticism, gender theory, critical race theory, adaptation studies, cold war studies, diaspora studies, and devised theatre
• Opportunities to develop a teaching and mentoring portfolio in courses such as Introduction to Theatre, Dramatic Analysis, Modern Drama, and Theatre History
• Online and face-to-face teaching options
• The chance to mentor undergraduates in directing, dramaturgy, and artistic management
• Strong academic placement history
• Outstanding  Rare Book and Manuscripts Collection  in Theatre
• Access to all the University of Illinois Library has to offer.

Production Opportunities

• Krannert Center for the Performing Arts , that regularly supports new work in development and gives students the chance to be part of the process
• The Armory Free Theatre, a blackbox performance space used by students and faculty to create and present cutting-edge work
• Lively campus and local theatre community, including The Station Theatre and Parkland College

Admission to the PhD program typically requires the presentation of a master’s degree in theatre or a closely related field. A student finishing an MA degree in theatre at the University of Illinois at Urbana-Champaign must apply formally. The Admissions Committee prioritizes applicants who present a solid array of theatre and dramatic literature courses as well as a real promise of earning their degree within a reasonable time. Preference is given to applicants who will be full-time students and active degree candidates.

While interviews are not required, we strongly recommend prospective students visit the Illinois campus to meet with faculty and students. To arrange an interview or for further information, contact the Director of Graduate Studies  Jeffrey Eric Jenkins.

Anyone interested in applying should obtain an Application for Admission to the Graduate College. Follow the application process on the Graduate College website .

Applicants are required to complete the online application form, pay a processing fee, and supply the following material:

• Transcripts of all previous college work.
• Graduate Record Exam (GRE) scores in the verbal section (recommended, but NOT required).
• Three letters of recommendation, preferably from instructors of the applicant’s theatre and drama classes or from experienced theatre professionals (to be sent separately by the letter writers).
• Two writing samples consisting of original scholarly or critical thought. These may be papers written for earlier courses and should demonstrate the applicant’s competence in writing, and in addressing a significant theatre/drama-related topic.
• A statement of academic and professional intentions.
• A resumé of activities in theatrical production.
• International students must submit recent TOEFL or IELTS scores. The minimum score for consideration is 550. In addition, the Test of Written English (TWE) is strongly encouraged for non-native speakers.

For fullest consideration of financial support, the deadline for applications is December 15. Applications will be accepted up until March 15.

Financial aid.

Financial aid is available to most PhD students admitted to the program. The Department offers several teaching and research assistantships and a limited number of fellowships. Tuition and fee waivers are included with all assistantships and fellowships. Financial aid is typically provided for four academic years to students who remain in good standing and successfully complete their assigned duties.

Special funding opportunities to note:

• Diffenbaugh Fellowships, for applicants from Missouri
• Graduate College Fellowships for Underrepresented Students
• Illinois Distinguished Fellowships

Visit the Graduate College Fellowship & Grant Competitions website for more information on these and others.

Current students needing assistantship in the following academic year must write an email to the Director of Graduate Studies describing all previous assistantships the student has had at UIUC and must list two ranked choices for desired assistantship in the following academic year. A brief explanation should be given as to why the student is qualified to take on the assistantship. All current students may submit the email, but preference will be given to those in their first three years of the program. Assistantships are awarded on a competitive basis, and the faculty considers the student’s performance in coursework and previous assistantships when making the decision. The email must be received by February 1.

Information for Current Students

Summary of requirements for the phd.

Students should be familiar with all of the doctoral degree requirements as stated in the  Graduate College Handbook .

• A master’s degree or its equivalent (the equivalent is at least 32 hours at Illinois or 32 semester hours of acceptable graduate work at another university).
• Sixty-four semester hours of graduate courses beyond the master’s level, with no more than 32 of these hours counted as Thesis Research (THEA 599).
• At least 16 hours of the above-listed 64 hours must be in 500-level theatre seminars.
• Maximum of eight hours of the above-listed 64 hours can be used for Colloquium in Theatre Research (THEA 591 TR).
• Independent Studies may not be used towards the above-listed 64-hour requirement.
• At least 40 hours beyond the master’s degree must be earned in courses meeting on the Urbana-Champaign campus or Chicago campus, or in courses meeting in other locations that have been approved by the Graduate College.
• Once residence has been completed, students may petition the Graduate College for permission to register in absentia.

A faculty member is temporarily assigned as the advisor for all incoming doctoral students. By the end of the second year, each student is required to select a permanent advisor who typically also serves as the dissertation director. The advisor must be a core faculty member of the PhD program in theatre, but the dissertation director may be a UIUC faculty member outside of the program.

All students in the PhD program must meet with the core faculty for their annual evaluation at the end of the spring semester. Those who have not passed their Preliminary Examination may be asked to meet at the end of every semester. In preparation for the meeting, the student should email the following documents to the chair of the program:

• Transcript of graduate courses taken at UIUC
• Term papers written during the year
• Current curriculum vitae
• Brief statement describing the student’s progress in the program. The student must pass the annual evaluation satisfactorily in order to continue in the program and to be eligible for financial aid.

Preliminary Examination and Dissertation Prospectus Defense

Students must complete at least 40 hours of coursework before taking the Preliminary Examination, which is usually taken at the beginning of the third year beyond the master’s degree. At least six months before the exam, in consultation with their academic advisor, the student must form their exam committee, including one member willing to serve longer term as research director.

The exam committee should consist of at least four voting members, three of whom must be members of the graduate faculty and at least two tenured faculty members. The preliminary exam is written over two consecutive school days (six hours of writing per day, during regular business hours) and is based on reading lists and topics of study developed by the student in consultation with each member of their committee. The research director will test the candidate’s knowledge of the particular area of theatre and drama in which the proposed dissertation topic lies and oversee the development of the Dissertation Prospectus.

The examination committee will review the written tests with the student in an oral exam, which must be held within two weeks. A failed Preliminary Exam may be retaken only once. Following a successful oral exam, the committee will proceed immediately to the candidate’s defense of their Dissertation Prospectus. If the exam committee requests the candidate to revise and resubmit the Prospectus, the exam committee must reconvene for a new defense.

At least three weeks before the written examination, the student must submit the Preliminary Examination Form to the chair of the MA/PhD program. The form should detail the dates, hours, whether the examination is open or closed book, and other requirements for the examination. The form is available on the Department of Theatre website and in the Department of Theatre office.

PROSPECTUS: Due 3 weeks prior to the written examination

At least three weeks before the written examination, the student must circulate to the examination committee their Dissertation Prospectus, following research director approval.

The written portion of the prospectus should be 5–10 pages double-spaced and include a full bibliography. The prospectus should demonstrate the student’s potential to write a dissertation that makes a substantial contribution to the literature relating to the project. It should also describe the scope of the project, which is expected to be completed within 2 years.

The following items must be included in the prospectus (see Prospectus Guidelines ):

• A tentative title for the dissertation.
• The initial premise or hypothesis from which the research will begin.
• An appraisal of the need for this study in the light of previous scholarship, including other dissertations.
• A consideration of the probable methods of research and analysis.
• A description of the resources necessary for the writing of the dissertation and their availability.
• Tentative chapter divisions.

Dissertation Committee

After a successful prospectus defense, candidates should form a dissertation committee which will serve as their final examination committee. Typically, some or all preliminary examination committee members will be part of the final examination committee. In any case, the committee must be composed of at least four voting members, at least three of whom must be members of the Graduate Faculty and a minimum of two tenured faculty members. This last requirement may be met by term members of the Graduate Faculty who retired or resigned with tenure for a period of three years following their resignation or retirement; this period may be extended at the request of the unit, as long as the faculty member remains actively involved in the graduate program.

If there are more than four voting members on the committee, at least half of the voting members should be members of the Graduate Faculty. The research director normally serves as the chair of the committee, but exceptions are allowed. The chair of the dissertation committee must be a member of the Graduate Faculty but does not have to be a faculty member in the Department of Theatre. A contingent chair may be designated to serve as the chair of the dissertation committee should the original chair be unable to serve for any reason.

Dissertation

Guided by the approved prospectus, the candidate will undertake research in the dissertation topic under the supervision of the dissertation director.

Final Examination

Once the dissertation has been completed, it must be unanimously approved in a final oral examination by the candidate’s dissertation committee. See the Graduate College Handbook for more detail.

Completing the Dissertation

The candidate must complete all requirements for the PhD degree within six years of the first registration in the doctoral program on the Illinois campus. Time extensions are granted only when justified and approved by the advisor, the head of the department, and the Graduate College. If more than five years elapse between a candidate’s Preliminary and Final Examinations, he or she will be required to pass a second Preliminary Examination. An examination committee must be formed, and the format of the examination should be decided by the candidate’s advisor.

Learn How to Apply

University of Missouri

College of Arts and Science

PhD in Theatre and Performance

MU’s PhD in Theatre and Performance Studies is a 72-credit hour program typically completed in-residence. Our PhD programs seeks to train artist-scholars —individuals grounded in performance practice and rigorous engagement in scholarship. Our doctoral graduates obtain professional positions teaching and practicing theatre in higher education , with professional theatre companies , and cultural organizations. With the guidance and support of a distinguished faculty of artists-scholars and the resources of one of the largest university libraries in the United States, MU doctoral students develop artistic, scholarly, and pedagogical specializations. The success our graduates have attained in professional theatre and in college and university teaching speaks to the effectiveness of the doctoral program in preparing students for the marketplace.

Program of Study

In the first year, PhD students take a diagnostic exam, complete coursework within the Department of Theatre and, in conversation with their advisor, select a “doctoral minor”—a twelve credit hour unified content area of study outside the Department of Theatre.

In the second year, PhD students continue to take courses within the Department of Theatre and begin coursework in a doctoral minor outside the department.

In the third year, PhD students complete any remaining coursework, take comprehensive exams, and begin dissertation work.

In the fourth year, PhD students complete a dissertation project. Our students’ dissertations are wide-ranging in topic and methodological approach. We value research that relies on archival study, qualitative inquiry, field work, oral history, and writing for performance.

While the program is designed to be four years, several of our graduate students receive followships for a fifth year of research. This year is especially effective in not only completing the dissertation but working on publications in the field.

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Degree Requirements

Qualifying examination, dissertation and comprehensive examination, admission criteria.

The Doctorate in Theatre and Performance Studies at MU aims to provide knowledge and research skills necessary to launch the successful student on a career of scholarly investigation of theatre history, dramatic theory, criticism, performance studies, playwriting and other modes of writing for performance (such as adaptation and translation), dramaturgy, performance ethnography, performance and theatre pedagogy.

Doctoral degree requirements include the successful completion of:

• A course of study designed in consultation with the student's advisory committee.
• Additional course work to satisfy the department's requirements for a doctoral minor.
• Written and oral comprehensive examinations.
• Completion of a dissertation and oral defense of dissertation.

Theatre Department Course Work

The Department of Theatre typically requires students entering the program with a master's degree to complete 48 semester hours of graduate level course work in the theatre department, including three semester hours of Dissertation Research, devoted to writing a dissertation prospectus. At least 15 hours must be at the 8000 level or above. A maximum of 6 hours directed readings/problems allowed toward total credit hours.

Transfer Coursework

Students with a Master’s Degree may have up to 6 hours of courses considered for transfer to their program of study. Students with an MFA may have up to 9 hours of courses considered for transfer to their program of study. Courses for transfer credit must be approved by the student’s doctoral committee and indicated on Form D-2: Plan of Study for the Doctoral Degree.

Doctoral Minor

The department also requires the student to complete a doctoral minor, a twelve-semester-hour unified area of study outside the Department of Theatre.

Participation in Productions

The doctoral student is encouraged to participate in University Theatre and studio theatre productions and may, in some cases, be required to do so. Academic credit is available.

During the first semester of residence, the student completes a qualifying examination. The Graduate Affairs Committee of the Department of Theatre meets with the student to discuss the student’s academic background, career goals and research interests for an oral review and discussion of their proposed course of study. The advisor submits Form D-1: Qualifying Examination Results and Doctoral Committee Approval, reporting on the departmental qualifying process.

Advisory Committee

Doctoral Program Committee asks the graduate dean to approve a committee of four graduate faculty members to help the student plan and carry out a program. One member of the Doctoral Program Committee must come from outside the Department of Theatre.

Program Planning

As early as is practical, usually in the student’s second semester on campus, the student should meet with the Doctoral Program Committee to plan a doctoral program. The student should prepare a trial plan in consultation with the faculty advisor who serves as chair of the Doctoral Program Committee and reports the approved plan of study to the graduate dean on Form D-2: Plan of Study for the Doctoral Degree.

Satisfactory Progress Guidelines for the PhD in Theatre

Probationary status.

The following constitute grounds for placing a student on departmental probation:

• Earning a grade of C or below in any departmental course taken for graduate credit will result in probationary status.
• A grade of incomplete in any course will result in probationary status for the subsequent semester. Incomplete grades must be changed to a grade of A or B by the end of the probationary semester (dissertation research incompletes are evaluated as S/U until the dissertation is defended).
• Failure to comply in a satisfactory manner with all responsibilities related to graduate assistantships.
• Graduate students in our department are expected to conduct themselves in a manner reflecting the university’s commitment to professional integrity, collegiality, and good citizenship. Students who consistently fail to conduct themselves in this manner may be subject to probation or dismissal.

In the case of each student on departmental probation, the director of graduate studies will confer with the advisor (in the case of an MA student), or the members of the program committee (in the case of a PhD student) to determine the grounds for removal of probation, and will communicate this decision to the student.

Annual Review

Each Fall semester the director of graduate studies convenes the Graduate Studies Committee to review the progress and performance of all graduate students. Each graduate student in residence should meet with his or her advisor within the first two weeks of each semester to determine whether satisfactory progress has been maintained, and the advisor shall report the results of this meeting to the director of graduate studies.

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Losing & Regaining Financial Support

Termination of departmental financial support will result if the student is considered to be making unsatisfactory progress and the student’s program may be terminated. Departmental financial support may be restored when the student has made satisfactory progress toward a graduate degree for one semester, has made an A or a B in all incomplete courses, and is judged to be off probation by the director of graduate studies.

Satisfactory Progress Before the Comprehensive Exam

Each semester prior to the semester in which PhD comprehensive examinations are taken, satisfactory progress is maintained when a student completes nine semester hours of graduate level work with a grade of B or above. Incomplete grades are given only under extraordinary circumstances and with the approval of the graduate faculty. Doctoral students who have been maintaining satisfactory progress toward a degree for a period of 36 months are expected, barring unusual and extenuating circumstances, to be prepared to write comprehensive examinations.

Satisfactory Progress During and After Comps

For the semester in which PhD comprehensive examinations are taken and in semesters after comprehensive exams and orals are passed, satisfactory progress is maintained when, in the judgment of the student’s dissertation advisor, the student is making satisfactory progress toward completion of the dissertation. Doctoral students who leave MU having completed all but the dissertation must maintain continuous enrollment by registering for two semester hours of Dissertation Research each fall and spring term and one hour in the summer term. Failure to register negates a student’s candidacy.

Graduate School Regulations on Satisfactory Progress

The Graduate School's regulations regarding a reasonable rate of progress for doctoral students enrolled during or after Fall 2000: Effective for students beginning their doctoral studies during or after Fall Semester 2000, a PhD student must successfully complete the comprehensive exam within a period of five years beginning with the first semester of enrollment as a PhD student. For an extension of this time limit, the student must petition the Graduate School by submitting a request to the advisor, who, in turns, submits, via the departmental director of graduate studies, a written recommendation to the Graduate School. The Theatre Department recommends taking comprehensive exams no later than the third year of consecutive full enrollment. Only students who have taken and passed their exams by May of their third year of assistantship will be considered for a fourth year of assistantship with the department.

All requests for extensions should be endorsed by the departmental director of graduate studies and should be accompanied by a description of the process whereby currency in the discipline is certified, if required by the department.

Dissertation Proposal/Prospectus

Before comprehensive exams may be scheduled, students will be required to complete a Dissertation Proposal (Mini-Prospectus), concisely but clearly expressing the Statement of Research Question and Tentative Thesis, a Justification and Rationale, a Statement of Method and Theory, a Chapter Summary, and Annotated Bibliography. The Mini-Prospectus should be at least five pages, not including the bibliography. The theatre department faculty members on student's Doctoral Program Committee must approve this proposal. After successful completion of comprehensive exams, the student will expand the dissertation proposal into a Dissertation Prospectus - a more detailed and thorough description of the dissertation project. The prospectus should provide a clear statement of the purpose of the dissertation, describe the need for the knowledge the dissertation report will supply, outline the research questions, and demonstrate the methods by which the scholar will answer these questions. The candidate will present the prospectus to the Doctoral Program Committee and will be prepared to defend it. After successful defense of the Full Prospectus the doctoral student is considered “ABD” – “all but dissertation.”

Comprehensive Examination

After completing the doctoral minor, a substantial amount of the course work, and after obtaining the approval of the proposal from the Doctoral Program Committee (Mini-Prospectus), the student takes the comprehensive examination. The comprehensive examination provides an opportunity for the student to demonstrate a thorough grasp of the history and principles of theatre and performance studies. The examination provides the Doctoral Program Committee with a window looking back upon the student's training as well as a chance to estimate the student’s potential as a problem-solving scholar and artist.

Readers of the examination look for more than a reiteration of the content of standard sources of information about dramatic art. The examinee should demonstrate an ability to analyze problems and data, to formulate theses or points of view, and to locate, evaluate and organize evidence to support a contention, the essential skills of scholarship. The comprehensive examination in theatre and performance studies allows candidates not only to tell what they know but also to demonstrate what they can do with information. Comprehensive exams are scheduled once each semester, during the first third of the current semester.

Stages of the Comprehensive Exam

The examination is given in two stages.

Stage One consists of a written examination, over the history of theatre, dramatic theory, criticism, writing for performance, performance studies, and theatre pedagogy; and Option 1: a third day of comps in which the student answers two question provided by their outside member of the Doctoral Program Committee, or Option 2: an analytical paper consisting of one question posed by the outside member of the Doctoral Program Committee. For the written examination, two hours are allotted for answering each question, making a total of twelve hours for the examination, typically administered over a two-day period. For Option 1, the student is allotted four hours on the third day to complete the additional two questions from the outside member. For Option 2, the analytical paper is typically written over a one-week period, to be turned in within three days of finishing the written examination. The examination is evaluated by the student's Doctoral Program Committee, which decides whether or not the student should be advanced to the oral examination.

Stage Two is the oral examination administered by the Doctoral Program Committee. This examination provides an opportunity for the student to correct, amend, or defend assertions made in the written examination, although the oral examination is not bound by any limits established by the written examination. Ordinarily of two hours duration, the oral is also an opportunity for the student to demonstrate skill in oral explanation and argument.

Criteria for Passage of the Comprehensive Exam

The result of the comprehensive examination shall be marked pass if all or all but one of the Doctoral Program Committee members recommend a pass on the entire examination, both written and oral sections. Should the examination be marked fail, the committee may recommend that the candidate retake the examination after a minimum period of 12 weeks. A report of the committee's decision (Form D-3: Doctoral Comprehensive Examination Results Form), carrying the signatures of all members of the committee, is sent to the Graduate School and to the student no later than two weeks after the comprehensive examination is terminated.

If a failure is reported, the committee also must include in the report an outline of the general weaknesses or deficiencies of the student's work. The student and the committee members are encouraged to work together to identify steps the student might take to become fully prepared for the next examination. If at any time the student believes that the advice given by the committee is inadequate, the student may send a written request for clarification to the committee. A copy of this request should be sent to the Graduate School. The committee must respond to this request in writing within two weeks with a copy to the Graduate School. Failure to pass two comprehensive examinations automatically prevents candidacy for the Doctorate in Theatre and Performance Studies at MU.

Completing the Dissertation

The final step is completion and approval of the doctoral dissertation. The director of graduate studies can provide the student a copy of Guidelines for Preparing Theses and Dissertations.

Dissertations in the Department of Theatre should be formatted according to the latest edition of A Manual for Writers of Term Papers, Theses, and Dissertations, ed. Kate L. Turabian or the MLA Handbook; the chosen format must meet with the dissertation advisor’s approval.

Graduate School Paperwork

Form D-4: Report of the Dissertation Defense, indicates that the student has defended the dissertation at an oral examination.

Advisory and Committee Approval of the Dissertation

No draft of the dissertation can be considered a final draft until the advisor (First Reader) has approved it. The final committee meeting cannot be scheduled until all committee members have approved the dissertation; therefore, a candidate should not expect to graduate in any given semester unless all committee members can have at least 14 days to read the dissertation before the last date for oral examination as published by Graduate Education. Unanimous approval of the dissertation by four committee members constitutes satisfactory completion of this examination.

https://theatre.missouri.edu/grad/application-process/

Deadline: January 15. We only admit once a year, barring extraordinary circumstances.

• Minimum TOEFL scores:
• Minimum GPA: 3.0 in the last 60 hours
• GPA of 3.5 or better in master’s program

Required Application Materials

To the Office of Graduate School:

All required Graduate School documents

To the Program:

• 3 letters of recommendation
• Statement of purpose
• Scholarly writing sample
• Professional résumé or portfolio
• Creative (dramatic) writing samples

Financial Aid from the Program

Some programs require an extra form or statement from those who wish to be considered for internal assistantships, fellowships or other funding packages. Check the program website or ask the program contact for details.

Admission Contact Information

Graduate Contact Jabarbara Jennings 129 Fine Arts Building; Columbia, MO 65211 (573) 882-2021 [email protected]

Director of Graduate Studies Dr. Kevin Brown 129 Fine Arts Building; Columbia, MO 65211 (573) 882-0527 [email protected]

https://theatre.missouri.edu/

Published by the University Registrar, 125 Jesse Hall, Columbia, MO 65211 Phone: 573-882-7881

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• M.A. - Theatre and Performance Research

Ph.D. – Theatre and Performance Research

The PhD Program in Theatre & Performance Research trains artist-scholars who create theoretically engaged work at the intersections of theatre and performance research and practice. We believe that graduate education in Theatre & Performance Research contributes vitally to contemporary society and facilitates the pursuit of a broad array of career paths in and beyond the academy.

Program Mission & Description

Curriculum & Program Expectations

Funding and Support

TaPR Faculty

Beyond the Classroom

More Information

Dr. Beth Osborne Director, M.A. & Ph.D. Programs in Theatre & Performance Research 239 Fine Arts Building Tallahassee, FL 32306-1160 Email:  [email protected]

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Doctor of Philosophy in Theatre

The Doctor of Philosophy in Theatre is designed to serve prospective teachers, critics, and scholars in theatre studies. Also, in support of the scholarly degree, it provides some training opportunities in production. Each student, working with an advisor, develops an individual program of study that includes not only a wide range of general courses in history, critical theory, dramatic literature, performance analysis, and research methods but also a specialized group of courses in the candidate's areas of interest. Each student also selects at least one area of production for training (acting, directing, design, or dramaturgy). In addition, students have the opportunity to take courses taught by faculty outside the department. Students will develop a strong foundation in theatre studies; they will also be able to design special programs of study, appropriate to their backgrounds and professional aims.

Dr. Stratos E. Constantinidis : Critical Theory; Classical Drama; Greek Drama

Dr. Beth Kattelman : Theatre Research; Feminist/LGBT Theory; Horror Entertainments

Dr. Sarah Neville : Renaissance Literature and Culture; Textual Editing; Shakespeare and Performance

Dr. Ana Elena Puga : Latin American and US Latino Theatre; Performance Studies; Translation/Dramaturgy

Dr. E.J. Westlake : Performance, Gender, Theory, and Practice; Theatre Pedagogy; Postmodernism

The doctoral program has close ties to the Lawrence and Lee Theatre Research Institute , a major archive in theatre studies. Director Jeanine Thompson and Curator Beth Kattelman work directly with doctoral students on study and research projects.

In addition, the Department of Theatre, Film, and Media Arts is affiliated with the Wexner Center for the Arts , a contemporary arts center and educational program at Ohio State, with a wide range of local, national, and international presentations in the visual and performance arts, film, video, and architecture.

Also the university is a member of the Big Ten Academic Alliance , an exchange program that allows students to study at other Big Ten universities and the University of Chicago. Exchange opportunities also exist with foreign universities.

The PhD applicant must meet the requirements for admission to the Graduate School of The Ohio State University, have substantial undergraduate work in theatre or related fields, have a Master's degree (MA or MFA) in theatre or performance studies or in a closely-related field, and present evidence of scholarly research (e.g., sample essays that reflect a high level of competence in research, analysis, and expository writing) and creative promise.

The Theatre Graduate Handbook contains the policies and procedures that govern graduate admissions, degree requirements, advising, the determination of satisfactory academic progress, the selection and evaluation of teaching associates, grievance procedures, and academic standards.

The PhD Advising Sheet contains the required coursework and other degree requirements, curricular timetable, and typical course offering patterns.

PhD in Theatre Arts

Please note that the Department of Theatre Arts & Dance offers only a PhD in Theatre Historiography. We do not admit students to a terminal master's degree; however, students in the PhD program may earn a Master of Arts degree on the way to their doctorate.

Our department offers a unique graduate program drawing from the varied research expertise of its core faculty: Cindy Garcia, Michal Kobialka, Sonja Kuftinec, Diyah Larasati, Sonali Pahwa, and Margaret Werry. Graduate students also draw on the specializations of faculty in the Dance Program such as  Ananya Chatterjea , and over 30 affiliate faculty across the University of Minnesota, in disciplines as diverse as English, Anthropology, Cultural Studies and Comparative Literature, Asian Languages and Literature, Art, Art History, Music, and Geography.

Core curriculum consists of courses in historiography and pedagogy and a series of field seminars and signature seminars. Students will choose a minimum of four seminars that suit their respective research interests. Field seminars focus on topics in the historiography of theatre and performance, helping students to both develop a solid grounding in our discipline and engage in cutting-edge debates with a global and theoretically sophisticated perspective. Signature seminars explore specific research methodologies in depth, from performance ethnography, to theatre for social change or performance studies.

The program is designed to be completed in four or five years. The first three years are spent in coursework: two structured years and a third year tailored to allow students to pursue their individual areas of interest in more depth. The final year or two of study is devoted to the research and writing of the doctoral dissertation.

College Resources for Graduate Students

Visit CLA’s website for graduate students to learn about collegiate funding opportunities, student support, career services, and more.

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Ph.D. in Theatre

The doctoral program in Theatre at Bowling Green State University emphasizes the connection of theatre and performance studies scholarship to artistry, and their application in pedagogical and other professional contexts.  Students are engaged in a course of study grounded in a thorough understanding of Theatre Performance History, Disciplinary and Interdisciplinary Theories, and Research Methods.  Practically, the course of study aims to prepare graduates to conduct original research, to teach, to consider the application of  advanced theatre studies skills in contexts beyond the academy, and to participate in theatre production in a range of capacities.  While the mission of the department is to prepare theatre studies graduates who approach the theory and practice of theatre and performance in an integrated manner, it should be understood that the primary emphasis of any doctoral program in the arts focuses on historical, theoretical, and pedagogical approaches to the subject matter rather than solely or even predominantly on artistic practice.

The Ph.D. in Theatre program Learning Outcomes are:

• To analyze diverse performance texts from various historical periods and cultural backgrounds.
• To demonstrate fluency in the theories, criticisms, and research methodologies in the interdisciplinary fields of theatre and performance.
• To use performance as the site and process for critical, cultural, and historical understandings.
• To develop skills in theatre design and technologies.
• To develop the ability to collaborate in theatre production as a dramaturg, actor, director, designer and/or technician.
• To communicate and present knowledge as a scholar-artist-citizen in professional formats.
• To develop teaching skills suitable for university-level or equivalent contexts.
• To develop and carry out a publishable research project.

After completion of the M.A. degree or equivalent, one may be admitted as a doctoral student upon approval by the Department of Theatre and Film’s Graduate Studies Committee and the Dean of the Graduate College.  Admission as a doctoral student does not imply admission to candidacy.  Admission to candidacy for the doctoral degree is achieved by passing the Graduate College mandated preliminary exam (i.e., Exams Stage II: Specialized Portfolio), and by securing approval of the dissertation topic by a Department of Theatre and Film graduate committee, the student's advisor, and the Graduate Dean.  Candidacy must be achieved at least six months before the degree is conferred.

The Department of Theatre and Film Graduate Faculty determine termination of a doctoral degree program on recommendation of the advisor and after conference with the student.  Termination will result from the student's failure to pass either the Qualifying Exam or the Specialized Portfolio (Exams Stages I and II), or to maintain "satisfactory progress toward the degree."  A more thorough consideration of all academic standards is provided in the Graduate Catalog. 

The student pursues the degree in a close relationship with a faculty advisor.  Initially, and continuing for the first year, advising is accomplished in conference with the Graduate Coordinator.  Coursework is not solely determined by the student's interests, but depends upon program requirements and course schedules and availability.

Near the beginning of the second year of study, each student, in consultation with the Graduate Coordinator, should choose a permanent advisor suitable to direct the student’s course of study and assemble a departmental committee consisting of two or three members of the graduate faculty. The student’s permanent advisor and committee are verified in writing by submitting the Advisor and Committee Approval Form. In addition to the advisor and committee members, the Graduate Coordinator and Department Chair must sign this form.  

Only Department of Theatre and Film faculty members who have been granted Level I Graduate Faculty status are eligible to chair dissertations.  Faculty members who have been granted Level II Graduate Faculty Status may serve as committee members.  In certain circumstances, faculty who have been granted Ad Hoc or Adjunct Graduate Faculty status may also serve as committee members. 

The permanent advisor will assist the student with preparation for the Qualifying Exam (i.e., Exams Stage I), and as chairperson for the Specialized Portfolio (i.e., Exams Stage II), dissertation prospectus, research and writing of the dissertation, oral defense, and preparation of the final manuscript for submission to the Graduate College.  

Although students are not encouraged to change advisors, they may do so whenever a change is warranted.  Such a change would be considered appropriate if a student decides to change the primary area of research, or if a faculty member becomes newly eligible to advise doctoral committees (i.e., has been granted Level I Graduate Faculty Status).  Usually such changes are mutually agreed upon by the student and the advisor.  A student wishing to change advisors must submit a written request to the Graduate Coordinator.  Once the advisor has been officially confirmed by the Graduate College through Preliminary Exam process, the student must complete the Committee Change - Dissertation form (an AdobeSign form available on the Graduate College website).  In all cases where a change in advisors us being considered, the student must communicate directly with the current and prospective advisors, and the chosen advisor must indicate willingness to serve.

Ph.D. students on assistantship are typically awarded a half-time contract for a nine-month period, which carries a 20 hours per week service obligation.  Whenever possible, students’ preferences are taken into consideration in making these assignments.  Nonetheless, departmental needs must take priority.  All questions regarding assistantship assignments in the Department of Theatre and Film should be addressed to the Chair.

Renewal of an assistantship is not automatic.  Students must formally reapply through the Chair of the Department of Theatre and Film.  Application guidelines for reappointment will be provided early in the spring term.  Such applications will be evaluated by the Chair based the following criteria:

• Satisfactory progress toward the degree in accord with expectations and timeliness articulated by the department
• Satisfactory performance of assistantship duties
• Availability of funds
• Departmental staffing needs

Ph.D. assistantships and corresponding tuition scholarships are eligible for renewal for up to potentially four years of on-campus study.

An assistantship may be taken from a student for any one of the following reasons:

1. Failure to make satisfactory progress toward a degree. 2. Inadequate performance of the duties associated with the assistantship.

a. If teaching a course this includes (but is not limited to), failure to follow and execute in good faith course syllabus, guidelines and objectives as determined by the departmental course coordinator; and failure to attend regularly scheduled course planning sessions (usually weekly) as determined by the departmental course coordinator. b. If in a non-teaching assignment this includes (but is not limited to), failure to complete duties and satisfy hour requirements as determined by supervising personnel.

3. Failure to maintain minimum registration. 4. Academic suspension for ethical or legal misconduct as specified in the student code.

On occasion, the Department of Theatre and Film offers a limited number of assistantship positions in the summer.  The exact number of positions varies from year to year and is dependent on instructional and production program needs. Graduate students should not assume they will automatically receive summer assistantships if requested.

A.  Financial Aid: Questions concerning financial aid eligibility and maximum allowances should be directed to the  Financial Aid office . It is the student’s responsibility to monitor how federal regulations concerning financial aid will have an impact on the individual program of study.

B.  Supplemental Employment: Graduate assistants must confer with, and receive permission from the Graduate Coordinator and the Chair of the Department before accepting additional employment, whether on or off campus.

A. General Degree Requirements:

1. A minimum of 90 semester credit hours including master's degree and dissertation hours.

2. No less than 18 or more than 30 credit hours of THFM 7990 Dissertation Research. Students may count 18 credit hours toward the degree.

3. Foreign language preparation courses may not be included in the minimum of 90 credit hours even though they may be expected or required by the department.  

4. Undergraduate and M.A. repair courses, and courses that are audited, may not be included in the minimum of 90 credit hours even though they may be expected or required.

5. Thirty hours of credit from a student’s master’s program may be counted toward the minimum 90 credit hours required. Up to 9 additional hours of post master's work from another school may be accepted (provided these credit hours were earned as doctoral work elsewhere).   Students may petition for transfer credit once they have completed eight hours of graduate work at BGSU.  See the Graduate Catalog for specifics regarding transfer of credit.

6. All students must complete the following Research Tool Sequence for a total of 12 credit hours:

THFM 6590 Research Methods in Theatre and Performance Studies

THFM 6630 Introduction to Performance Studies

THFM 7680 Interdisciplinary Performance Theory (May be repeated when topic changes)

THFM 7810 Research and Publication in Theatre and Performance Studies (May be repeated with advisor's approval)

7. All students must complete 15 credit hours offered from the History & Literature/Theory/Criticism (HLTC) sequence, and 15 credit hours offered from the Performance Studies/Practice (PSP) sequence. The total number of courses taken in the HLTC and PSP sequences combined is 30. Courses approved for HLTC credit include:

THFM 5650 Period, Style and Form

THFM 6600 Theatre/Performance in Cultural Contexts I

THFM 6610 Theatre/Performance in Cultural Contexts II

THFM 6620 Theories of Theatre and Performance (May be repeated when topic changes)

THFM 6700 Performance and Theatre in the Americas (May be repeated when topic changes)

THFM 7660 Theatre and Performance History: Ancients–16th Century (May be repeated when topic changes)

THFM 7670 Theatre and Performance History: 17th–21st Century (May be repeated when topic changes)

THFM 7720 Critical Traditions in Theatre/Performance I

THFM 7730 Critical Traditions in Theatre/Performance II

THFM 7740 Contemporary Theatre and Performance THFM 7750 Modernism in Theatre and Performance

Courses approved for PSP credit include:

THFM 5720 Scene Design

THFM 5730 Costume Design

THFM 5740 Lighting Design

THFM 5750 Scene Painting

THFM 6640 Directing Practice

THFM 6670 Staging Image and Text (May be repeated when topic changes)

THFM 6680 Performance Studies (May be repeated when topic changes)

THFM 6690 Theatre for Young Audiences

THFM 6710 Theatre Organization and Management

THFM 6820 Performance Theory and Practice (May be repeated when topic changes)

THFM 7600 Theatre/Performance Pedagogy and Professional Development

THFM 7620 Directing and Staging Theory

8.  No more than 3 credit hours of THFM 7960 Supervised Practicum in Theatre Performance may be included in the minimum program. These credit hours may potentially be used to satisfy specific program requirements upon approval by the Graduate Coordinator and Graduate Studies Committee. Approval must be secured in advance of registering for the course.

9.  Independent Studies (THFM 7840 or 7850 Directed Readings in Theatre/Performance & THFM 7860 Research Problems in Theatre/Performance) may potentially be taken to fulfill any of the three categories (Research Tool, HLTC, and PSP) subject to approval by Graduate Coordinator and Graduate Studies Committee.  Approval must be secured in advance of registering for the course. More than two registrations/six credit hours of THFM 7840, 7850, and 7860 will require special justification.

10. Courses in other departments may, on occasion, be taken as a substitute for a required course upon approval of the Graduate Coordinator and Graduate Studies Committee.

11. The number of 5000-level courses that may be counted toward the minimum required courses for the doctoral degree shall not exceed 9 hours or three courses.

B. Research Tool Requirement and Foreign Language Proficiency:

All doctoral students are required to take the four courses in the Research Tool sequence. However, should a student wish to pursue dissertation research that requires proficiency in a foreign language, that proficiency must be established through the student’s satisfactory performance on an exam administered by one of the language departments. Students may take the exam on an individual basis after consultation with the appropriate examiner, or may opt to take it at the conclusion of successfully completing 5000/6000 level foreign language courses offered at BGSU. Taking language preparation courses would be in addition to the 90 credit hours required for the degree. The Educational Testing Service’s Graduate School Foreign Language Testing program may also be used to satisfy this requirement.

C. Additional Coursework Option:

In the event all course work required for the degree has been completed by the beginning of the fall semester of the third year, a student may substitute some of the THFM 7980 Readings for Preliminary Exam hours taken during the third year of study with additional graduate coursework in the Department of Theatre and Film or in other departments/units.  Reasons for taking additional course work are varied, but might include the offering of a class in the department that was not available during the first two years of residency, or the offering of a class in another unit pertinent to the student’s area of dissertation research. Students should consult with their permanent advisor and the Graduate Coordinator to determine if this is a viable option. The total number of credit hours taken during either term during the third year of study for students receiving a tuition scholarship typically does not exceed 4. Students following this option must understand that taking additional coursework during the third year does not relieve them of the responsibility of completing the Preliminary Exam and Prospectus processes in a timely manner as outlined below.

D. CREDIT HOUR BREAKDOWN:

30 hours – MA

12 hours – Research Tool Sequence

15 hours – History & Literature/Theory/Criticism (HLTC)

15 hours – Performance Studies/Practice (PSP)

18 hours – Dissertation

90 TOTAL HOURS

A. Assembling a Committee: No later than the middle of the first semester of the second year of study, the student should submit the names of the proposed advisor and committee to the Graduate Coordinator and Departmental Chair for approval. The majority of the committee must consist of members of the Theatre and Film faculty who hold the Ph.D. The committee shall consist of a minimum of two persons in addition to the advisor. All committee members must have been granted an appointment to the graduate faculty sufficient to serve on the committee (i.e., for the advisor, Level I; for the other committee members, Level II, or in special cases Ad Hoc or Adjunct). The student is responsible for ascertaining each faculty member’s willingness and eligibility to serve on the committee. This advisor and committee will, at minimum, take the student through the Qualifying Exam and Specialized Portfolio processes and potentially through to the defense of the dissertation.

B. Preparing the Qualifying Exam: The exam is comprised of a Research Portfolio of two essays, collectively no shorter than 40 pages and no longer than 45 pages, a two-to-three page rationale of proposed dissertation research, and a reading list comprised of sources in the student’s proposed area of dissertation research and proposed methodology. The essays are revisions of previously written papers prepared during doctoral course work at BGSU. The papers are to be reflective of Research Tool, HLTC, and/or PSP coursework and demonstrate proficiency and scholarly depth in research and writing. Each student is required to consult with the permanent advisor in the process of articulating the contents of the Research Portfolio. The selection of the essays for inclusion in the Research Portfolio is subject to the student’s advisor’s approval. Advisors read and respond to the essays, rationale, and reading list just one time. As such, the responsibility for shaping the exam materials rests primarily with the student. The exam is structured to test the student's qualifications, skills, and knowledge. Thus, outside of helping the student determine what essays should be included, discussing the direction of dissertation research, and providing comments one time on one draft of the materials, the advisor will take an essentially hands-off approach. It is imperative that all the work within the Research Portfolio is the student’s work alone. The student is strictly forbidden from enlisting the help of others for the purposes of editing the contents of the Research Portfolio. Failure to heed this restriction constitutes a breach of academic honesty and may result in termination from the program and/or expulsion from the university.

C. Evaluation of the Exam:  By February 1st   during the second year of study, the student will submit the Research Portfolio to the two reading members of the committee (i.e., committee members, not the advisor). Each essay will receive an evaluation of “Pass” or “No Pass” from these two members of the committee. In the event of a tie, the advisor will join the process. If the student’s work is evaluated as unsatisfactory (i.e., “No Pass”) by one of the two readers on one of the research papers, the advisor will read and evaluate that essay.  If after the advisor reads the paper, at least two of the three readers deem the paper to be a “No Pass,” the student will need to revise the paper and resubmit it for evaluation no later than April 20th. If the work is evaluated as unsatisfactory by two of the three readers on both research papers, the student will be required to retake the exam during the subsequent semester of study (i.e., fall of the third year) and will not be eligible for third year funding (i.e., assistantship and tuition scholarship).  The student may also be required to complete additional course work. After the student’s work has been evaluated, the student’s committee may provide written feedback. The Graduate Coordinator will compile the results and written feedback, and notify the student. There will not be an oral defense for the Qualifying Examination. Following the successful completion of Exams Stage I, the student should submit the Preliminary Exam Application (an AdobeSign form available on the Graduate College website).  Upon receipt of this application, the Graduate College will appoint a faculty member from another department/unit to serve as the Graduate College Representative.

D. Failure to Pass the Qualifying Exam:   The student may rewrite the failed exam only one time. Failing satisfactory completion of the Qualifying Exam will result in dismissal from the graduate program.

The Graduate College requires that all doctoral students take a preliminary exam that is both written and oral. The Department of Theatre and Film meets the requirement through the Specialized Portfolio. The purpose of the Specialized Portfolio is not only to meet the Graduate College preliminary exam requirement but also to allow the student an opportunity to explore the area of specialization and to demonstrate a mastery of those issues to be explored in more depth in the dissertation. It is the responsibility of the student and the advisor to schedule and plan the Specialized Portfolio.

A. The Preliminary Exam Process: After passing the Qualifying Exam, the student prepares and defends the Specialized Portfolio (Exams Stage II). This takes place in the fall semester of the third year of study. The contents of the Specialized Portfolio are initially nurtured through peer and instructor review in THFM 7810 Research and Publication in Theatre and Performance Studies during spring term of the second year of study, and then through fall of year three through consultation with the student’s advisor. The contents of the Specialized Portfolio are then submitted to the student’s entire committee including the appointed Graduate College Representative for review and evaluation. The student will then schedule a meeting with the full committee to conduct an oral defense of the Specialized Portfolio.  Prior to attending the meeting, the student must complete the Preliminary Exam Report form (an AdobeSign form available on the Graduate College website).  When the full committee determines that the student has satisfied the preliminary exam requirement, all members certify approval by signing the Preliminary Exam Report.  The student must pass both the written and oral preliminary exams by December 1 st  of year three.  While students who receive funding through other sources may elect to follow a different timetable, at most, it is expected that all students will successfully defend the Specialized Portfolio within one academic year following the completion of required coursework. Any student who fails to comply with these guidelines will automatically be judged as having failed to make adequate progress towards degree and will be dropped from the program.

B. The Nature and Scope of the Specialized Portfolio: It is expected that the contents of the Specialized Portfolio will demonstrate the student’s level of preparation to conduct original research that will contribute to scholarship. Each element of critical and scholarly work in the Specialized Portfolio should be suitable for publication. This means that the Portfolio documents must reflect original research, and that they must be written in a professional, error-free manner.

As a general practice, students generate initial drafts of materials for inclusion in the Specialized Portfolio while completing requirements for 6000 and 7000 level seminar courses and focus primarily on revising and expanding these materials during the spring and summer semesters of the second year of study and the fall of the third year.  Because preliminary revision often takes place during the student’s enrollment in THFM 7810 Research and Publication in Theatre and Performance Studies (spring semester, second year), students should plan to have written at least initial drafts of all materials intended for inclusion in the Specialized Portfolio prior to the beginning of the spring semester of their second year of coursework. In so doing, students will be able to take advantage of the opportunities for feedback presented in that course. It is expected that students will seek the opinion of their respective advisors as to the suitability of the materials they propose to revise for inclusion in the Specialized Portfolio (at the very least, major components such as the research essay) prior to commencing the spring semester of the second year of study, and that they will remain in dialogue with their advisor throughout the process of revising and developing these materials.  The advisor will read and respond to materials selected for inclusion in the Specialized Portfolio just two times.  As with the Qualifying Exam, it is imperative that all the work within the Specialized Portfolio is the student’s work alone.  Apart from the feedback that the student’s work receives from the advisor on two occasions, and the instructor and students of THFM 7810, the student is strictly forbidden from enlisting the help of others for the purposes of editing the contents of the Specialized Portfolio. Failure to heed this restriction constitutes a breach of academic honesty and may result in termination from the program and/or expulsion from the university.

C. Contents of the Specialized Portfolio:

1. Detailed professional curriculum vitae, suitable for inclusion in a job application packet.

2. Three book or performance reviews of any combination, but including at least one of each type (i.e., at least one book review and at least one performance review).  Book reviews must focus on recent academic texts in theatre and performance (broadly defined), and must be suitable for publication in an academic journal or other trade publication.  Performance reviews must focus on a professional performance event, and must be suitable for publication in an academic journal or other trade publication.  Each review must be 1000-1500 words in length.

3. A pedagogical position paper.  This essay is a personal statement of teaching philosophy.  It must be 1000-1500 words in length.

4. A Diversity Statement of approximately 500 words, suitable for inclusion in a job application packet. This is a personal statement that outlines both philosophical and/or theoretical ideas about and practical evidence of how the student advances issues of diversity, equity, and inclusion in the classroom or elsewhere.

5. An article-length work of original research suitable for publication.  It should address a well-defined topic in depth, and should make an original contribution to scholarship in the designated research area rather than merely reiterating or synthesizing the work of others. This essay may be an essay refined and developed from the submissions in Exam Stage I. However, any revised paper must be developed beyond the parameters of the earlier draft. Thus, the student must incorporate feedback provided on the earlier draft, and/or offer new readings or observations other than those made in the earlier draft, and/or include in the study new findings.  This essay should be between 25-35 pages in length.

6. A more developed iteration of the rationale for the proposed dissertation (i.e., an early draft of the dissertation prospectus).

7. A detailed annotated bibliography in the declared area of dissertation research.

The dissertation must be an appropriate culmination of the candidate’s program of study and must represent scholarly research appropriate in method and subject to the degree program.

1. Advisor: The advisor must be a member of the theatre graduate faculty who holds a Ph.D., and must hold Level I status on the Graduate Faculty. Before selecting a dissertation advisor, the student must consult the Graduate Coordinator to determine the potential advisor’s eligibility to direct dissertations.

2. Eligibility and Timeline:  A student must have passed the Preliminary Exam (i.e., Exams Stage II: Specialized Portfolio) before a dissertation topic can be approved. However, the prospectus for the dissertation is initially developed concurrently with the Specialized Portfolio materials in the spring semester of the second year of study and nurtured through peer and instructor review during THFM 7810 Research and Publication in Theatre and Performance Studies. The prospectus is also given additional development in consultation with the student’s advisor during the spring term of the second year of study, and continuing through the third year.  To ensure adequate progress toward degree, the prospectus should be successfully defended by April 20th of the third year of study.  Typically, students who do not meet this requirement will be ineligible for a renewal of assistantship (i.e., fourth year funding). Regardless of the timeline, the prospectus must be successfully defended no less than six months prior to oral defense of the dissertation.

3. Selection of Topic:  The student and the advisor should discuss potential dissertation topics. The topic area and method of research must be determined by the fall term of the second year of study, when the initial dissertation rationale is drafted.  The dissertation is expected to be a scholarly document, making an original contribution to knowledge and demonstrating the student’s potential as a scholar. Prospective topics should be carefully researched in advance, to be certain that someone else has not investigated them.

4.  Dissertation Committee:  The dissertation committee should include those faculty members who served as readers of the Specialized Portfolio, along with the Graduate College Representative assigned by the Graduate College. Once the committee is officially constituted with the Graduate College through the Preliminary Exam process, any changes to it require Graduate College approval.  Students wishing to change the make-up of their committee must complete the Committee Change - Dissertation form (an AdobeSign form available on the Graduate College website).

5. Prospectus Defense:  A defense of the prospectus may be scheduled once the student has the advisor's approval . At least two weeks before the scheduled meeting the student will provide the committee with the dissertation prospectus. The prospectus should not only clearly outline the proposed topic of study, but should also demonstrate the student’s ability to complete the proposed research.  To satisfy this requirement, the student must demonstrate knowledge of existing scholarship in the chosen area of specialization, and make evident that the proposed work will contribute substantially to the scholarly conversation in this area. Students should anticipate that the advisor may ask for substantial revision of the prospectus before allowing the student to distribute the document to the committee as a whole, and should budget their time accordingly. The dissertation prospectus should include the following components:

• Relevant background information to introduce and contextualize the proposed area of research.
• Concise statement of the central research questions that the study will address.
• Discussion of objectives of the study and justification of its significance.
• Review of extant scholarship in the field.  Note: A list of titles of other scholarship is not sufficient to satisfy this requirement.  Rather, the student must demonstrate knowledge of other work in the research area and note how the proposed study will contribute to the field.
• A discussion of the research methods the student will employ in completing the study.
• Principle sources of data.
• Limitations of the study.  Note: Limitations in this context does not mean an “apologia” for the shortcomings of either the researcher or the proposed study. Rather, it is an opportunity to delineate and justify the boundaries of the study—chronological, geographical, types of data to be considered, etc.
• Tentative organization of the study into chapters.  Note: Proposed chapter titles are not sufficient, and should be supplemented by abstracts or tentative summaries of what will be covered in each section.

Prior to the defense, the student must complete the Dissertation Topic Approval Form (an AdobeSign form available on the Graduate College website).  At the defense, the student will orally defend and elaborate on the prospectus and receive feedback from the advisor and the committee on the proposed research project. When the committee members are satisfied that the student is ready to proceed with work on the dissertation, they indicate their formal approval by signing the Dissertation Topic Approval form. This form must be filed with the Graduate College at least six months before the student expects to receive the degree. If human subjects are involved in the research (surveys, interviews, questionnaires, etc.) prior approval of the dissertation topic by the BGSU Human Subjects Review Board must be secured.

6. Defense of the Dissertation:  The student works principally with the advisor in researching the topic and writing preliminary drafts. At least two weeks prior to the oral defense of the completed dissertation, the student must furnish each member of the committee with a readable draft in good form, including documentation and bibliography.  The student must also ask the Graduate Coordinator to contact the Graduate College with details of the defense date and time.  That office will publicize the upcoming defense to the larger BGSU community.  Committee members may require revision prior to the oral defense. The student meets with the committee and a public audience for oral defense of the dissertation. Prior to the defense, the student must complete the Dissertation Defense and Manuscript Approval form (an AdobeSign form available on the Graduate College website).  If the dissertation is successfully defended and the manuscript is acceptable in both content and form, the committee indicates its approval by signing the form. Students should be aware that approval form involves two steps, Oral Defense and Manuscript Approval.  Thus, it is possible, even though the final oral examination has been passed, for the committee to request substantive changes or additions before approving the manuscript. In planning to meet Graduate College deadlines, the student should take this possibility under consideration. Only one negative vote is permissible.

7. Abstracts:  An abstract of the dissertation must be provided along with the final draft.  See the Graduate College's “Thesis and Dissertation Handbook” for details.

8. Copyrights and Permissions:  The use of photographs, images, and extended quoted material (i.e., entire published poems, or lengthy quoted material) in a dissertation require the consent of the authors/creators.  It is the student’s responsibility to secure those permissions in writing prior to defense of the dissertation.

9. Final Copy:  The final copy must meet strict Graduate College requirements and style must be thoroughly consistent with one of the major style manuals (e.g., most recent edition of the MLA Handbook or Chicago Manual of Style). The manuscript is expected to adhere to these guidelines as well as those of the Graduate College. The Graduate College requires electronic submission of theses and dissertations. Deadlines for deposit of approved, error-free, electronic copy of the dissertation are found on the “Important Dates and Deadlines” link on the Graduate College Web Page.

Upon approval of the final manuscript, the student is to bring two single-sided, error-free, hard copies of the dissertation to the Department Secretary for binding: one copy goes to the Department and one goes to the dissertation advisor.

It is the student’s responsibility to be aware of all deadlines pertaining to completion of the degree. While the plan for the degree outlined here suggests that the program takes four years to complete, students may find the program takes longer or shorter depending on when they complete the requirements.  Furthermore, students need to be aware that every time they turn in documents to their advisor and/or committee, a minimum two-week “read” time is given to the reader(s). Moreover, certain weeks during the year are not counted in the two-week “read” time: Thanksgiving Break, Winter Break, Spring Break, the weeks following the spring semester and prior to the first summer session, and the weeks following the end of the second summer session and the beginning of the fall semester. It is also important to remember that the chair and committee members may not be available during the summer at all if they are not on summer contract. Consequently, each of these times may elongate the turn-around time for the return of these documents to the student for revision or in preparation to take the work to committee. Lastly, students must be aware that they must register for at least one credit hour during the semester of graduation.  Other policies requiring time to degree include:

A. Graduate College requirements mandate that the degree be completed within eight years from the time the student first registered for doctoral work at BGSU. Course work older than eight years becomes invalidated, and the student must revalidate work, take additional work, or be dropped from the program.

B. Graduate College regulations provide that no student may receive more than four academic years of assistantship and tuition scholarship support at the doctoral rate.

C. A student in continuous residence who has not passed the Qualifying Exam (Exams Stage I) by the end of the second semester of the second year of study (April 20th), is not making satisfactory progress toward the degree and may be deemed ineligible for further departmental funding (i.e., third year funding).

D. A student in continuous residence who has not passed the Specialized Portfolio (Exams Stage II) and successfully defended the Prospectus by the end of the second semester of the third year of study (April 20th), is not making satisfactory progress toward the degree and may be deemed ineligible for further departmental funding (i.e., fourth year funding).

E. While students who receive funding through other sources may occasionally elect to follow a different timetable, it is expected that all students will successfully defend the Specialized Portfolio within one academic year following the completion of required coursework. Any student who fails to comply with these guidelines will automatically be judged as having failed to make adequate progress towards degree and will be dropped from the program.

Graduate Community Participation

Students admitted to the graduate program in the Department of Theatre and Film at BGSU are asked to remember that they are members of a community. As such they are expected to participate in the life of the department. What follows are the minimum expectations for participation. First, students are expected to support their colleagues and peers by attending BGSU Department of Theatre and Film productions. Second, they are encouraged to take on production responsibilities insofar as course work and, if funded, assistantship duties will permit. Third, all graduate students are expected to keep the hour of eleven o’clock to noon on Thursdays free for Graduate Seminar and to attend the seminar when it is convened. Over the course of the academic year, Graduate Seminar programming will include professional development workshops, post-performance production discussions, and research presentations by graduate students, faculty, and guest scholars.

A. Procedures:

1. Registration is completed by the student after consultation with the Graduate Coordinator and/or the student’s advisor.

2. Registration for internships, practicums, independent studies, directed readings, and directed research requires an additional registration approval form, which is obtained from the Administrative Secretary in the main office of the Department of Theatre and Film. Students must complete this form, which must include a brief statement of the independent work or internship, and signatures of approval by the advisor, the person directing the research or internship, and the Chair of the Department.  The Administrative Secretary will register students for these courses after proper registration papers are completed.

3. Changes in registration after the semester begins may result in fees being assessed according to the Registration and Records Refund Schedule. The student will bear the financial burden of those fees.

4. Students wishing to register for courses in other departments are often required to obtain approval in advance from the Graduate Coordinator in that department. Additionally, students must secure approval from the Graduate Coordinator in the Department of Theatre and Film, as well as the advisor. When taking courses outside the Department of Theatre and Film, students are advised to meet with the instructor of record before the first class meeting.

B. Limits on Hours of Registration:

1. Students not on assistantship have no minimum registration hours except as noted below.

2. Students holding assistantships are required to register for no more than 9 hours of graduate credit each spring and fall semester.

3. Students may not enroll for THFM 7990 Dissertation Research hours until they have successfully defended the Specialized Portfolio and dissertation prospectus.

C. Registration When Not in Residence:

The Graduate College mandates continuous registration for one hour each semester if a student leaves the campus with all requirements for the degree done except the dissertation. This registration is not done automatically. This policy does not include summer session unless graduating in August.

A. Incompletes:  An INC (incomplete) is given only when, for an approved reason, a student fails to take the final examination or to fulfill a definite requirement in a course. An INC can be removed and a grade substituted if the student completes course requirements to the satisfaction of the instructor prior to the deadline established by the Graduate College. An individual instructor may come to an agreement for an earlier deadline for removal of an incomplete grade. For courses taken S/U, any mark of INC not removed by the deadline will change to U. For courses taken for a letter grade, any mark of INC not removed by the deadline will change to F.  The Graduate Dean has the authority to extend the deadline for an incomplete. The student must petition for such consideration in writing and prior to the expiration of the deadline. The instructor’s support is required for approval of the request.

B. Grades for THFM 7990 Dissertation Research:  Students are assigned a grade of S/U at the end of each term when they are enrolled in THFM 7990.  A grade of S denoted satisfactory progress that semester, and a grade of U denotes unsatisfactory progress that semester.  The final evaluation of the dissertation is conducted by the student's advisor and committee upon completion of the manuscript at the oral defense, and is independent from S or U grades earned while carrying out the study.

C. Probation:  Students failing to meet the following minimal standards may be dropped from the program or placed on probation at the discretion of the Department of Theatre and Film Graduate Faculty, or the Graduate Dean.

1.  Students must maintain a graduate grade point average of 3.0 or better. 2.  Students must make satisfactory progress toward a degree by successfully completing all courses attempted each semester, and passing all exams within periods set forth.

Students on probation will have their assistantship and tuition scholarship awards removed.  Generally, students remaining on probationary status for more than one semester will be dropped from the program.

D. Policy for Dropping Students:

If the Department of Theatre and Film recommends that a student be dropped from a degree program, the student is no longer considered as a degree student, although the student may continue course work. If a student is dropped from a degree program, all assistantship support is terminated. If dropped, the student must petition the department for reinstatement as a degree student. In certain cases, the department may elect to discontinue assistantship and tuition scholarship funding for a student making marginal progress without dropping that person from the program, in which instance the student will be eligible to seek support elsewhere or to cover their educational expenses. In some instances, given just cause, a student may be dropped from the program even when not receiving assistantship support through the Department of Theatre and Film.

E. Revalidation of Course Work

Credit for course work older than eight years will not apply toward degree requirements unless revalidated by retaking the course(s) or by a formal examination. Time spent in the armed forces is exempted in applying this time limitation. The application must be submitted through the following channels:

            1.  Chair of Department of Theatre and Film             2.  Department of Theatre and Film's Graduate Studies Committee             3.  Graduate Coordinator in Theatre and Film             4.  Graduate Dean

• S. Dan Cullen, The Viewpoints: A Postmodern Actor Training for a Postmodern Theatre (2022)
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• Daniel M. Ricken, “What a Man”: The Crisis of Masculinity on the Broadway Musical Stage (2022)
• Abdulmajeed Aldoukhi, The Misrepresentation of Arab Gulf Men Through Costumes on Stage and Screen (2021)
• Cody Allyn Page, Toward the Horizon: Contemporary Queer Theatre as Utopic Activism (2021)
• Dennis Sloan,  From la Carpa to the Classroom: The Chicano Theatre Movement and Actor Training in the United States (2020)
• Mohamadreza Babaee,   Staging Belonging: Performance, Migration, and the Middles Eastern Diaspora in the United States (2020)
• Michelle Cowin Gibbs,   Detroit Brand Blackness: Race, Gender, Class, and Performances of Black Identities in Post Recession Detroit (2019)
• Rebecca Hammonds,  Bookish Woman: Examining the Textual and Embodied Construction of Scholarly and Literary Women in Musicals (2019)
• Quincy Thomas , Lycra, Legs, and Legitimacy: Performances of Feminine Power in Twentieth Century American Popular Culture (2018)
• John Paul Staszel , Beyond the Thong: Contests, Representations, and the Performances of Erotic Masculinities in Male Strip Show(s) (2017)
• B. Slade Billew , Holding On To the Basics: Using the 3-D Performance Pyramid to Improve Skill Retention in the Introduction to Acting Classroom (2016)
• Kevin Calcamp , The Semiotics of Celebrity at the intersection of Hollywood and Broadway (2016)
• Matthew Nicosia , Performing the Female Superhero: An Analysis of Identity Acquisition, Violence, and Hypersexuality in DC Comics (2016)
• Stephen Harrick , From the Avant-Garde to the Popular: A History of Blue Man Group, 1987-2001 (2015)
• Darin Kerr , The Idea of Beauty in Their Person: Dandyism and the Haunting of Contemporary Masculinity (2015)
• Macaela Carder Whitaker , Women in Stage Combat: A Study of Babes with Blades Theatre Company (2015)
• Carl Harry Walling , Exhibiting Scenographic Identities at the 207 and 2011 Prague Quadrennials (2015)
• Hephzibah Darshni Dutt , The Grotesque Cross: The Performative Grotesquerie of the Crucifixion of Jesus (2015)
• Angenette Spalink , Choreographing Dirt: Performances of/against the Nature/Culture Divide (2014)
• Miriam Hahn , Playing Hippies and Indians: Acts of Cultural  Colonization in the Theatre of the American Counterculture (2014)
• Lance Mekeel , From Irreverent to Revered: How Alfred  Jarry's Ubu Roi and the "U-Effect" Changed Theatre History (2013)
• Cynthia Stroud , Stage Hypnosis in the Shadow of Svengali: Historical Influences, Public Perceptions, and Contemporary Practices (2013)
• Patrick Konesko , Representing Childhood: The Social, Historical, and Theatrical Significance of the Child on Stage (2013)
• Dennis Sloan (2020) is Assistant Professor of Drama at University of Houston Downtown.
• Michelle Cowin Gibbs (2020) is Assistant Professor of Theatre at Illinois Wesleyan University.
• Mohamadreza Babaee (2020) is Visiting Assistant Professor of Theatre, Drama, and Contemporary Dance at Indiana University.
• John Paul Staszel (2017) is Assistant Professor of Theatre at California University of Pennsylvania.
• B. Slade Billew, (2016) is Assistant Professor of Acting and Directing in the School of Theatre at Stephen F. Austin University.
• Matthew Nicosia (2016) is a Visiting Lecturer in the Department of Performing Arts and Visual Culture at Rochester Institute of Technology.
• Carl Walling (2015), is an Assistant Professor of Theatre at the University of Findlay.
• Stephen Harrick (2015) is a Lecturer in the Department of Speech Communication and Dramatic Arts at Central Michigan University.
• Angenette Spalink (2014), is an Assistant Professor in the Department of Performance Studies at Texas A&M University.
• Miriam Hahn (2014) is arts administrator and adjunct instructor of Theatre and Art/Art History at Wofford University.
• Patrick Konesko (2013) is an Assistant Professor of Theatre History and Dramatic Literature at the University of Wyoming.
• Lance Mekeel (2013) is the Director of Theatre at Ohio University at Chillicothe.

Department of Theatre and Film

Dr. Lesa Lockford, Chair Department of Theatre and Film Bowling Green State University Bowling Green, OH 43403 (419) 372-2222 Fax: (419) 372-7186 [email protected]

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If you have questions about tickets for any show, please contact the Box Office in Wolfe Center at 419-372-8171.

Updated: 09/01/2022 12:30PM

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Is a History Degree Worth It?

Understanding the Numbers When reviewing job growth and salary information, it’s important to remember that actual numbers can vary due to many different factors — like years of experience in the role, industry of employment, geographic location, worker skill and economic conditions. Cited projections do not guarantee actual salary or job growth.

It's often said that understanding history is the key to not repeating it. Historian Dr. Matthew Schandler , disagrees. An adjunct faculty member and academic partner with Southern New Hampshire University (SNHU), Schandler feels that that old adage is too simplistic.

According to Schandler, understanding history provides perspective and ultimately helps us better understand the present. “(History) helps one discern fact from fiction, truth from lies,” he said.

The study of history  involves the intersection between ancient civilizations and modern societies. While core classes focus on humanity and human society, you'll be able to customize your degree with a variety of concentrations and electives.

Sociology, psychology and political science are related fields that can broaden your studies. Art history, writing and graphic design can lend themselves well to round out a history degree as well.

Adding a complementary minor in an area such as marketing or project management could provide even more opportunities for you to broaden your education and build the foundation for a satisfying career.

Is History a Hard Major?

Any degree program can be challenging, and history is no different. If you’re learning what you love, though, the challenge can be enjoyable.

You must be able to process significant amounts of information quickly and accurately as well as have strong digital literacy skills. This is because historians may work on digital literacy projects and conduct research using massive amounts of primary and secondary sources. These sources can include books, articles, documentaries or even video games, according to Schandler.

Even with new artificial intelligence tools able to summarize large documents, historians must be able to process and synthesize significant amounts of information quickly and accurately. "There are new ways to (convey) history to different audiences that go (beyond) 'just writing,'" Schandler said.

Choosing a Concentration

Once your core general education and history requirements are complete, many schools allow you to choose a concentration to focus your learning. Some examples of such concentrations are:

• American History – where you may study environmental history or African-American history, or complete coursework in the Civil War and Restoration eras. A concentration in American history can be good preparation for a career in museum science or archival work.
• European History – where the focus is typically on ancient Greece and Rome, but could continue up to and include World War II. This concentration may offer courses in political science as well.
• Middle Eastern History – this concentration examines the political and religious matters of Islam and the Arab-Israeli conflict. Journalism and communications are good options for career paths with this degree focus.
• Military History – the evolution of warfare, past and present, are the focus here. While this concentration is available to anyone, nearly 45% of the students in SNHU's military history concentration are military-affiliated.

Schandler said that no matter which concentration you choose, the skills, methodologies and complex synthesis of information from disparate sources that historians must master can be challenging. “The historian must be willing to truly apply themselves (to be successful),” he said.

And while the realities of graduate school in history  can seem intimidating, Schandler said that rigor and intensity are important parts of earning the degree. For Schandler, history allows for learning about all sorts of topics, an aspect of the field he really enjoys.

Find Your Program

Is history a respected major.

The transferable skills and versatility of studying history make the field a great launchpad for a multitude of careers. Historians are trained to write clearly and conduct research to provide evidence, Schandler said. This skill makes historians experts at crafting an argument, a skill set respected in virtually any field. 

What Skills are Necessary to Be Successful as a Historian?

In addition to an affinity for reading and synthesizing information, there are several skills that Schandler feels are critical for historians to be successful. They include:

• Focus – Schandler considers the ability to concentrate a vital quality to have as a history major.
• Interest in the present as well as the past – While an interest in the past may be obvious, history majors can benefit from an active interest in the present as well. Keeping up to date with global events can help broaden and enrich study of the past.
• Investigative curiosity – When studying history, you’ll not only need to investigate sources, you’ll benefit from enjoying the research process.
• Literacy – Much of your work will involve writing about your findings and ideas. To do this effectively, you’ll need to structure your thoughts in a way that flows. You also need to be comfortable working with large volumes of information in many different formats.
• Numeracy – While the study of history involves competence in reading and literacy, an aptitude for working with numbers and data is also necessary. In fact, being able to work with numbers is a prerequisite skill for certain subfields of history, according to Schandler.

Are History Majors in Demand?

Because of the broad foundation of the history undergraduate degree, job opportunities for history majors  exist across a variety of disciplines. In addition to more traditional jobs for historians, such as teaching, new types of jobs emerge all the time.

“There are amazing applications for the history major to work in creative industries like documentary filmmaking and practical ones such as secondary education,” Schandler said.

According to the U.S. Bureau of Labor Statistics ( BLS ), 65% of those with a history degree worked in one of these occupation groups, as of 2021.* Those groups are:

• Business and Financial Operations – With a bachelor’s degree in history, you could go on to work as a budget analyst, human resources specialist or logistician. Loan officer or underwriter roles are also good opportunities for history majors. As of May 2023, the median salary across jobs in this area was $79,050, according to BLS.*
• Educational Instruction and Library Occupations – Roles in this field include archivists, teachers and museum workers. The median annual salary for workers in this group, according to BLS, was $59,940 in 2023, which was higher than the median annual salary for workers across all professions.*
• Legal Occupations – Mediators, court reporters and paralegals are a few of the opportunities available in this field that don’t require a graduate degree. The median salary across this field as of May 2023, according to BLS, was $99,220.*
• Management – There are many types of management, including facilities management, human resources management and computer and information systems management, to name a few. These occupations require the writing, critical thinking and ability to synthesize large amounts of data that are part of studying history. The median annual salary for jobs in this category, according to BLS, was $116,880 in May 2023.*
• Sales Engineers - There are many opportunities to apply a history degree in a sales field, given the high level of transferable skills between the two. Sales engineers, in particular, sell technical or scientific products to businesses. Preparing presentations and writing marketing materials are just two ways a historian could apply their skills in this field. According to BLS, the median salary for this role in May 2023 was $116,950.*

The Life of a History Major

Currently, Schandler is applying the skills he gained earning a history degree to his role as an instructor of political science. He loves how a holistic understanding of the past enables him to feel less uncertain about the present.

With a degree in history, you can study what you love and then apply that knowledge to the career field of your choice. You'll be able to use your skills as a historian to better understand the past and help build a rewarding career in the present.

Discover more about SNHU's online history degree : Find out what courses you'll take, skills you'll learn and how to request information about the program.

*Cited job growth projections may not reflect local and/or short-term economic or job conditions and do not guarantee actual job growth. Actual salaries and/or earning potential may be the result of a combination of factors including, but not limited to: years of experience, industry of employment, geographic location, and worker skill.

A former higher education administrator, Dr. Marie Morganelli  is a career educator and writer. She has taught and tutored composition, literature, and writing at all levels from middle school through graduate school. With two graduate degrees in English language and literature, her focus — whether teaching or writing — is in helping to raise the voices of others through the power of storytelling. Connect with her on LinkedIn .

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About southern new hampshire university.

SNHU is a nonprofit, accredited university with a mission to make high-quality education more accessible and affordable for everyone.

Founded in 1932, and online since 1995, we’ve helped countless students reach their goals with flexible, career-focused programs . Our 300-acre campus in Manchester, NH is home to over 3,000 students, and we serve over 135,000 students online. Visit our about SNHU  page to learn more about our mission, accreditations, leadership team, national recognitions and awards.

40 Facts About Elektrostal

Written by Lanette Mayes

Modified & Updated: 21 May 2024

Reviewed by Jessica Corbett

Elektrostal is a vibrant city located in the Moscow Oblast region of Russia. With a rich history, stunning architecture, and a thriving community, Elektrostal is a city that has much to offer. Whether you are a history buff, nature enthusiast, or simply curious about different cultures, Elektrostal is sure to captivate you.

This article will provide you with 40 fascinating facts about Elektrostal, giving you a better understanding of why this city is worth exploring. From its origins as an industrial hub to its modern-day charm, we will delve into the various aspects that make Elektrostal a unique and must-visit destination.

So, join us as we uncover the hidden treasures of Elektrostal and discover what makes this city a true gem in the heart of Russia.

Key Takeaways:

• Elektrostal, known as the “Motor City of Russia,” is a vibrant and growing city with a rich industrial history, offering diverse cultural experiences and a strong commitment to environmental sustainability.
• With its convenient location near Moscow, Elektrostal provides a picturesque landscape, vibrant nightlife, and a range of recreational activities, making it an ideal destination for residents and visitors alike.

Known as the “Motor City of Russia.”

Elektrostal, a city located in the Moscow Oblast region of Russia, earned the nickname “Motor City” due to its significant involvement in the automotive industry.

Home to the Elektrostal Metallurgical Plant.

Elektrostal is renowned for its metallurgical plant, which has been producing high-quality steel and alloys since its establishment in 1916.

Boasts a rich industrial heritage.

Elektrostal has a long history of industrial development, contributing to the growth and progress of the region.

Founded in 1916.

The city of Elektrostal was founded in 1916 as a result of the construction of the Elektrostal Metallurgical Plant.

Located approximately 50 kilometers east of Moscow.

Elektrostal is situated in close proximity to the Russian capital, making it easily accessible for both residents and visitors.

Known for its vibrant cultural scene.

Elektrostal is home to several cultural institutions, including museums, theaters, and art galleries that showcase the city’s rich artistic heritage.

A popular destination for nature lovers.

Surrounded by picturesque landscapes and forests, Elektrostal offers ample opportunities for outdoor activities such as hiking, camping, and birdwatching.

Hosts the annual Elektrostal City Day celebrations.

Every year, Elektrostal organizes festive events and activities to celebrate its founding, bringing together residents and visitors in a spirit of unity and joy.

Has a population of approximately 160,000 people.

Elektrostal is home to a diverse and vibrant community of around 160,000 residents, contributing to its dynamic atmosphere.

Boasts excellent education facilities.

The city is known for its well-established educational institutions, providing quality education to students of all ages.

A center for scientific research and innovation.

Elektrostal serves as an important hub for scientific research, particularly in the fields of metallurgy , materials science, and engineering.

Surrounded by picturesque lakes.

The city is blessed with numerous beautiful lakes , offering scenic views and recreational opportunities for locals and visitors alike.

Well-connected transportation system.

Elektrostal benefits from an efficient transportation network, including highways, railways, and public transportation options, ensuring convenient travel within and beyond the city.

Famous for its traditional Russian cuisine.

Food enthusiasts can indulge in authentic Russian dishes at numerous restaurants and cafes scattered throughout Elektrostal.

Home to notable architectural landmarks.

Elektrostal boasts impressive architecture, including the Church of the Transfiguration of the Lord and the Elektrostal Palace of Culture.

Offers a wide range of recreational facilities.

Residents and visitors can enjoy various recreational activities, such as sports complexes, swimming pools, and fitness centers, enhancing the overall quality of life.

Provides a high standard of healthcare.

Elektrostal is equipped with modern medical facilities, ensuring residents have access to quality healthcare services.

Home to the Elektrostal History Museum.

The Elektrostal History Museum showcases the city’s fascinating past through exhibitions and displays.

A hub for sports enthusiasts.

Elektrostal is passionate about sports, with numerous stadiums, arenas, and sports clubs offering opportunities for athletes and spectators.

Celebrates diverse cultural festivals.

Throughout the year, Elektrostal hosts a variety of cultural festivals, celebrating different ethnicities, traditions, and art forms.

Electric power played a significant role in its early development.

Elektrostal owes its name and initial growth to the establishment of electric power stations and the utilization of electricity in the industrial sector.

Boasts a thriving economy.

The city’s strong industrial base, coupled with its strategic location near Moscow, has contributed to Elektrostal’s prosperous economic status.

Houses the Elektrostal Drama Theater.

The Elektrostal Drama Theater is a cultural centerpiece, attracting theater enthusiasts from far and wide.

Popular destination for winter sports.

Elektrostal’s proximity to ski resorts and winter sport facilities makes it a favorite destination for skiing, snowboarding, and other winter activities.

Promotes environmental sustainability.

Elektrostal prioritizes environmental protection and sustainability, implementing initiatives to reduce pollution and preserve natural resources.

Home to renowned educational institutions.

Elektrostal is known for its prestigious schools and universities, offering a wide range of academic programs to students.

Committed to cultural preservation.

The city values its cultural heritage and takes active steps to preserve and promote traditional customs, crafts, and arts.

Hosts an annual International Film Festival.

The Elektrostal International Film Festival attracts filmmakers and cinema enthusiasts from around the world, showcasing a diverse range of films.

Encourages entrepreneurship and innovation.

Elektrostal supports aspiring entrepreneurs and fosters a culture of innovation, providing opportunities for startups and business development.

Offers a range of housing options.

Elektrostal provides diverse housing options, including apartments, houses, and residential complexes, catering to different lifestyles and budgets.

Home to notable sports teams.

Elektrostal is proud of its sports legacy, with several successful sports teams competing at regional and national levels.

Boasts a vibrant nightlife scene.

Residents and visitors can enjoy a lively nightlife in Elektrostal, with numerous bars, clubs, and entertainment venues.

Promotes cultural exchange and international relations.

Elektrostal actively engages in international partnerships, cultural exchanges, and diplomatic collaborations to foster global connections.

Surrounded by beautiful nature reserves.

Nearby nature reserves, such as the Barybino Forest and Luchinskoye Lake, offer opportunities for nature enthusiasts to explore and appreciate the region’s biodiversity.

Commemorates historical events.

The city pays tribute to significant historical events through memorials, monuments, and exhibitions, ensuring the preservation of collective memory.

Promotes sports and youth development.

Elektrostal invests in sports infrastructure and programs to encourage youth participation, health, and physical fitness.

Hosts annual cultural and artistic festivals.

Throughout the year, Elektrostal celebrates its cultural diversity through festivals dedicated to music, dance, art, and theater.

Provides a picturesque landscape for photography enthusiasts.

The city’s scenic beauty, architectural landmarks, and natural surroundings make it a paradise for photographers.

Connects to Moscow via a direct train line.

The convenient train connection between Elektrostal and Moscow makes commuting between the two cities effortless.

A city with a bright future.

Elektrostal continues to grow and develop, aiming to become a model city in terms of infrastructure, sustainability, and quality of life for its residents.

In conclusion, Elektrostal is a fascinating city with a rich history and a vibrant present. From its origins as a center of steel production to its modern-day status as a hub for education and industry, Elektrostal has plenty to offer both residents and visitors. With its beautiful parks, cultural attractions, and proximity to Moscow, there is no shortage of things to see and do in this dynamic city. Whether you’re interested in exploring its historical landmarks, enjoying outdoor activities, or immersing yourself in the local culture, Elektrostal has something for everyone. So, next time you find yourself in the Moscow region, don’t miss the opportunity to discover the hidden gems of Elektrostal.

Q: What is the population of Elektrostal?

A: As of the latest data, the population of Elektrostal is approximately XXXX.

Q: How far is Elektrostal from Moscow?

A: Elektrostal is located approximately XX kilometers away from Moscow.

Q: Are there any famous landmarks in Elektrostal?

A: Yes, Elektrostal is home to several notable landmarks, including XXXX and XXXX.

Q: What industries are prominent in Elektrostal?

A: Elektrostal is known for its steel production industry and is also a center for engineering and manufacturing.

Q: Are there any universities or educational institutions in Elektrostal?

A: Yes, Elektrostal is home to XXXX University and several other educational institutions.

Q: What are some popular outdoor activities in Elektrostal?

A: Elektrostal offers several outdoor activities, such as hiking, cycling, and picnicking in its beautiful parks.

Q: Is Elektrostal well-connected in terms of transportation?

A: Yes, Elektrostal has good transportation links, including trains and buses, making it easily accessible from nearby cities.

Q: Are there any annual events or festivals in Elektrostal?

A: Yes, Elektrostal hosts various events and festivals throughout the year, including XXXX and XXXX.

Elektrostal's fascinating history, vibrant culture, and promising future make it a city worth exploring. For more captivating facts about cities around the world, discover the unique characteristics that define each city . Uncover the hidden gems of Moscow Oblast through our in-depth look at Kolomna. Lastly, dive into the rich industrial heritage of Teesside, a thriving industrial center with its own story to tell.

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Our commitment to delivering trustworthy and engaging content is at the heart of what we do. Each fact on our site is contributed by real users like you, bringing a wealth of diverse insights and information. To ensure the highest standards of accuracy and reliability, our dedicated editors meticulously review each submission. This process guarantees that the facts we share are not only fascinating but also credible. Trust in our commitment to quality and authenticity as you explore and learn with us.

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Notable Places in the Area

Elektrostal Satellite Map

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Board of Trustees Recognizes Faculty Members

Congratulations to the 23 members of the faculty who were awarded promotions and/or tenure by the Ithaca College Board of Trustees at its May meetings.

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AWARDED PROMOTION FROM ASSOCIATE PROFESSOR TO PROFESSOR Department of Theatre and Dance Paula Murray Cole (M.F.A. Southern Methodist University) teaches acting, voice, and movement. Her professional work is centered on the development and dissemination of Rasaboxes, a suite of exercises originally devised by Richard Schechner. She co-authored and edited the first book dedicated to the exercises, “Inside the Performance Workshop: A Sourcebook for Rasaboxes and Other Exercises” (Routledge 2023), and co-authored “The Actor As Athlete of the Emotions: The Rasaboxes Exercise” for the book “Movement For Actors (2nd Edition, 2017), edited by Nicole Potter, Barabara Adrian, and Mary Fleischer. She has taught performance workshops at New York University, the University of Tennessee at Knoxville, the Dell’ Arte International School of Physical Theatre, Brown University, and Rose Bruford College and has presented Rasaboxes at conferences and workshops in Israel, Montreal, Turkey, Singapore, China, and Poland.

Department of Occupational Therapy Melinda Cozzolino (P.P.O.T.D. Creighton University) teaches courses in neuroscience, mental health, and research. She received the founding grant for the Center for Life Skills, an interdisciplinary program at Longview for adults with chronic neurological conditions. This program has operated for over 20 years and has provided experiential learning for thousands of students and therapeutic services for hundreds of community members. She is a prolific scholar in the areas of interprofessional education and supporting mental health and is an advocate for mental health at the local, regional, and national levels.

Department of Theatre Studies Chrystyna Dail (Ph.D. University of Maryland) serves as director of the Integrative Core Curriculum. Her area of specialization is theatre history, with research interests in U.S. social activist performance, labor theatre, 20th-century Ukrainian-American performance, and the representation of witches in performance. Her book, “Stage for Action: U.S. Social Activist Theatre in the 1940s,” is part of the Theater in the Americas series published through Southern Illinois University Press, and her chapter, “Driving Race Work: The UAW, Detroit, and Discrimination for Everybody!” is included in the edited collection “Working in the Wings: New Perspectives on Theatre History and Labor.” Additionally, her chapter on Margo Jones is included in the eight-volume book series The Great North American Stage Directors published through Methuen Drama. She is currently writing a book about theatrical stagings of the Salem witchcraft crisis by female-identifying artists, and is the book review editor of Theatre Survey, which is published through Cambridge University Press.

Department of Philosophy and Religion Serge Grigoriev (Ph.D. Temple University) imbues the array of courses that he teaches with his ready sense of humor and his gift for oratory. In his classes, laughter is a regular feature, allowing students to enjoy themselves intellectually as they grapple with complex material. His research focuses on pragmatism and the philosophy of history, and he has published prodigiously, producing original, philosophically significant, and refreshingly readable scholarly work. He has been a generous citizen of the college, bringing thoughtful insights to the H&S Faculty Senate, the C.P. Snow Lecture Series Committee, and the Faculty Grievance Committee, to name just three of his service endeavors.

Department of Management Narges Kasiri (Ph.D. Oklahoma State University) bridges theory and practice in her courses in operations management and business analytics. She has integrated cutting-edge technology, including generative AI, into the curriculum. Her collaborative projects with local businesses allow students to apply their skills in real-world settings, enhancing both their learning experience and IC’s engagement in the community. As a scholar, she has earned prestigious honors such as the Fulbright Innovation Award and a grant from HSBC’s Sustainability Office.

Department of Exercise and Athletic Training Patrick McKeon (Ph.D. University of Virginia) is best described as a teacher/servant/scholar. He teaches both graduate and undergraduate students to better understand research and its application to their clinical practice. He serves the department as the Athletic Training Clinical Education Coordinator, the college as chair of the Institutional Review Board and his profession as an editor of two prestigious professional journals. He is also a well-respected scholar, serving as an Executive Council member of the International Ankle Consortium and mentoring numerous students each year to present their own research at local, regional, and national conferences.

Department of Music Education James Mick (Ph.D. Florida State University) teaches undergraduate and graduate courses in string pedagogy, orchestral rehearsal techniques, instrumental conducting, and the psychology of music teaching and learning. In 2020 he was honored with Ithaca College’s Faculty Excellence Award. Recent all-state orchestra appearances include Alabama, Florida, Georgia, Kentucky, New York, Ohio, and Wyoming. Internationally, he has worked with student ensembles in the United Kingdom and Belgium. He served as music director and conductor of the Rochester Philharmonic Youth Orchestra from 2015 to 2023. During his tenure the RPYO held annual side-by-side performances with the Rochester Philharmonic Orchestra at Eastman Theatre’s Kodak Hall and performed at Carnegie Hall in New York City and the Kennedy Center in Washington D.C. A popular clinician, he has presented at numerous state, regional, and national conferences including the American String Teachers Association National Conference and the Midwest Clinic: An International Band & Orchestra Conference.

Department of Music Theory, History, and Composition Alexander Reed (Ph.D. University of Pittsburgh) is the author of the books “Assimilate: A Critical History of Industrial Music (2013 Oxford University Press) and “Laurie Anderson’s Big Science” (2021 Oxford University Press). He also co-wrote the volume on the They Might Be Giants album “Flood” (2014 Bloomsbury) for the 33 1/3 book series. He has published in the Journal of Popular Music Studies, Popular Music and Society, Perspectives of New Music, the Journal of Popular Music Education, ImageTexT, Music Theory Spectrum, Music Theory Online, and the Journal of Musicological Research. He is founder and former chair of the Popular Music Study Group of the American Musicological Society and has served on the board of the International Association for the Study of Popular Music’s U.S. branch. He has received awards, fellowships, and residencies at the Rock and Roll Hall of Fame, the Mellon Foundation, Contemporary Arts International, and the Association for Recorded Sound Collections. Active as a musician, he has toured internationally and released seven albums with his bands Seeming and ThouShaltNot. He has also produced dozens of records for others, and his work has aired on MTV and in popular television on series such as “Gossip Girl.”

Department of Music Performance Michael Titlebaum (M.M. Eastman School of Music) is a saxophonist/composer/arranger who serves as Director of Jazz Studies at Ithaca College, where he directs the Ithaca College Jazz Ensemble; coaches combos; and teaches jazz saxophone and courses in jazz standards, arranging, repertoire, and pedagogy. In 2010 he founded the Ithaca College Jazz Ensemble Composition Contest. He also teaches and coordinates the jazz area in the IC Summer Music Academy. He is the author of the book “Jazz Improvisation Using Simple Melodic Embellishment,” published by Routledge/Taylor and Francis in 2021. He has performed and given workshops and lectures at numerous state and national conferences, including the Jazz Education Network, the International Society for Improvised Music, the New York State School Music Association, the New York State Band Directors Association, and the Texas Music Educators Association.

Department of Computer Science Doug Turnbull (Ph.D. University of California) teaches across the computer science curriculum, exhibiting a persistent dedication to making his classes accessible and to providing research opportunities to the largest possible number of students. Students appreciate that he involves them in his research as genuine partners and grants them foundations for future careers. His scholarship has earned wide recognition in the form of NSF and NEA grants that have brought more than $600,000 to IC. He has published widely in the area of music information retrieval, and he recently delivered a keynote lecture at a conference in Singapore. In his service, he has continued his efforts to promote undergraduate research, and he serves on the H&S Faculty Senate. He also engages in service to the music information retrieval research community, nationally and internationally.

Department of Media Arts, Sciences, and Studies Andrew Utterson (Ph.D. Birkbeck College) has expertly taught courses across the Screen Studies curriculum including Film Aesthetics and Analysis, Hollywood and American History, and Fiction Film Theory as well as ICC courses and mini-courses for the Finger Lakes Environmental Film Festival, of which he is now co-director. The focus of his scholarship in film history, theory, and criticism is the intersection between film and new media as well as the changing nature of cinema from production to exhibition.

Department of Exercise and Athletic Training Justine Vosloo (Ph.D. West Virginia University) is a model for faculty within helping professions. She has spearheaded significant improvements to the department’s graduate Sport Psychology and Mental Performance programs. She is an outstanding mentor to students as they present their own research within professional journals and at national conferences and when they consult with student-athletes to improve their mental performance. Finally, she has grown to be a well-respected scholar within her profession as evidenced by her recent keynote lecture, “Reflections on cultural humility, inclusion, and belonging: Current trends and future challenges for the practice of sport psychology when considering the COVID-19 pandemic.”

Department of Music Education Baruch Whitehead (Ph.D. Capella University) is the founding director of the Dorothy Cotton Jubilee Singers, which is dedicated to the preservation of the Negro Spiritual. He also founded the Orff-Schulwerk certification program, a music education that views music as a basic system like language, at Ithaca College and Marshall University, and is the past director of the annual Orff Certification Training Course at Boston University. His other areas of expertise include diversity in music education, gospel music and its preservation within mainstream musical settings, African American music, and the music of the Civil Rights movement. He has been a featured speaker/workshop presenter at many state, national, and international conferences, including the International Arts and Humanities conference in Honolulu and MENC, NYSSMA, NJMEA, and the American Orff-Schulwerk Association national conference. He has taught at the World Music Village in Helsinki, Finland, and continues to present workshops on diversity in music education for state, national, and international conferences.

Department of Strategic Communication Cory Young (Ph.D. Bowling Green State University) regularly teaches Crisis Communication, and this topic is the focus of most of her research. She is an organizational communication scholar whose work also explores risk communication and projects on diversity and inclusion. She has served in many capacities, including administrative roles for her department and for the school’s graduate program as well as for the college as a whole, as director of the Honors Program, a member of All-College Tenure and Promotion Committee, and chair of the Faculty Handbook Committee.

AWARDED TENURE AND PROMOTION FROM ASSISTANT TO ASSOCIATE PROFESSOR Department of Music Performance Mike Truesdell (D.M.A. The Juilliard School) is a percussionist who has performed with numerous ensembles, including the New York City Ballet, International Contemporary Ensemble, and Lucerne Festival Ensemble conducted by Pierre Boulez, and with members of the New York Philharmonic, Metropolitan Opera, Chamber Music Society (New York), and Alarm Will Sound, among others. As an educator, he has previously been on the faculties of the University of Northern Colorado, Rutgers University, and Columbia University. Also engaged with mentoring the next generation, he has taught in the acclaimed Music Advancement Program at The Juilliard School, and founded Wildcat Percussion Camp, a summer percussion program to introduce aspiring percussionists to the spectrum of percussive sounds and techniques.

AWARDED TENURE AT RANK OF PROFESSOR Department of Media Arts, Sciences, and Studies James Rada (Ph.D. University of Georgia) expertly teaches budding journalists how to tell important stories in inventive ways in courses such as Documentary Journalism Workshop and Investigative Journalism. His creative activity includes producing and directing “With Infinite Hope: MLK and the Civil Rights Movement,” among other films he contributed to that tell the history of the movement and the Underground Railroad. He was awarded IC’s Faculty Excellence Award in 2020. He is an active reviewer and judge for several industry professional publications and organizations.

AWARDED TENURE AT RANK OF ASSOCIATE PROFESSOR Department of Media Arts, Sciences, and Studies Andy Watts (M.F.A. Columbia University) is an outstanding teacher who can successfully teach across the various film and television programs in the Roy H. Park School of Communications. His creative work as a screenwriter, director, and producer, combined with a 20-year career as a set lighting technician, directly contribute to his efficacy as an educator, mentor, and colleague. He has demonstrated an exemplary level of service to the department, the school, and the college, while maintaining ties to the industry.

AWARDED PROMOTION FROM ASSISTANT TO ASSOCIATE PROFESSOR Department of Biology Rebecca Brady (Ph.D. University of Texas at Austin) is renowned for her creative teaching of such classes as Human Genetics and Fundamentals of Biology, enlivening them with innovative techniques and placing a firm emphasis on students’ intellectual growth. Her scholarship is integrally connected to her teaching—she has contributed to the biology education literature through her published work in American Biology Teacher and is at work on a study of the flipped classroom. She has mentored student research projects that have resulted in public presentations, and her service contributions have students at their core. As examples, she has judged sessions for the Whalen Symposium and she was a member of the Innovation Scholars Program steering committee, helping to give birth to that vital new program in H&S.

Department of Music Performance Daniel Coakwell (D.M.A. Texas Tech University) teaches in the Voice area of the department, and students and peers alike commend his commitment to promoting a learning environment that prioritizes the mental health and well-being of his students. He also enjoys guest teaching artist residencies at institutions such as El Teatro Teresa Carreño in Venezuela, Yale University, and Dartmouth College. He specializes in the Evangelist and tenor roles of J.S. Bach, and he frequently performs the composer’s major oratorios—St. Matthew Passion, St. John Passion, Christmas Oratorio, and Mass in B-Minor—as well as many of Bach’s cantatas. Recent performances as a tenor soloist include G.T. Handel’s Messiah at the Myerson Symphony Center in Dallas, TX, and at the Steinmetz Hall in Orlando, FL, and as tenor soloist of J.S. Bach’s Mass in B Minor at the Judson Memorial Church in New York City and at St. Paul’s Episcopal Church in Salem, OR.

Department of the Environment Paula Turkon (Ph.D. Binghamton University) teaches generously not just in her own department but for programs across the college, including Anthropology and Innovation Scholars. She is known as an exuberant and imaginative instructor, and her students express gratitude for the lifelong impact she leaves on them, often helping them to forge careers in science. Her research in the areas of dendrochronology and aquaponics has resulted in three NSF grants as well as published scholarship. She has left an indelible imprint on H&S by leading a discussion that resulted in a new Innovation Scholars Program with sustainability at its core. Colleagues characterize her as an embodiment of the scholar-teacher ideal in the liberal arts.

Department of Writing Jaime Warburton (M.F.A. Sarah Lawrence College) offers courses at every level of the Writing curriculum, with a focus on first-year writing, poetics, creative writing, and gender. Faculty and students point to her welcoming and passionate approach to instruction, noting that she teaches with humor and vivacity, and she empowers students to interrogate their biases and preconceptions. She is a prolific author of creative nonfiction, poetry, and scholarship on the craft of writing. Reviewers call her work “gorgeous,” “self-aware,” and “self-deprecating.” She has been a generous citizen of IC, directing the Writing Center and the Ithaca Young Writers Institute, and chairing the Faculty Handbook Amendment Committee, among numerous activities.

AWARDED PROMOTION FROM CLINICAL ASSISTANT TO CLINICAL ASSOCIATE PROFESSOR Department of Physical Therapy Kayleigh Plumeau (D.P.T. Ithaca College) is a highly effective teacher and has exceptional clinical skills. She launched a novel mentoring program that directly addresses diversity, equity, and inclusion in clinical settings. She has had multiple presentations at national conferences including about the mentoring program, representation in clinical education, and growth mindset, with presentations and publications in interprofessional education and home exercise program for cancer survivors. She is the chair of the awards committee for the NY State Physical Therapy Association.

Department of Speech-Language Pathology and Audiology Jana Waller (M.S. Ithaca College) has been a clinical faculty member since 2011, serving as fieldwork coordinator, graduate co-chair, and interim chair. Since 2021 she has served as associate dean for the School of Health Sciences and Human Performance. She was selected for a prestigious HERS leadership development fellowship based on her leadership experience. She has conducted clinical research in autism, developing an innovative program for autistic adolescents and adults. More recently, her scholarly work has focused on interprofessional education in the health sciences.

Category : Gorodok factory

Subcategories.

This category has only the following subcategory.

• Gorodok pipe bridge ‎ (7 F)

Media in category "Gorodok factory"

The following 41 files are in this category, out of 41 total.

• Factories in Pavlovsky Posad
• Gorodok (Pavlovsky Posad)
• 1900s architecture in Russia
• Weaving mills in Russia
• Brick architecture in Pavlovsky Posad
• Uses of Wikidata Infobox
• Uses of Wikidata Infobox with maps
• Pages with maps

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