Scholarships/Presentations

“The Romans, Shakespeare, and Women,” Shakespeare and the Romans Conference,

UCSC 1988

 

“Ajax in Vietnam,” conference on Greek Drama in Modern Performance, Ohio State

University, 1988

 

“Lee Breuer’s The Gospel at Colonus,” American Philological Association meeting, 1989

“An American Tragedy: Chinatown,” in Classics and Cinema, ed. Martin Winkler

(Bucknell University Press, 1991), 209-31.

 

Organizer, conference on “Ancient Drama/Modern Performance,” UCSC, 1991

“Significant Silence: Alcestis and The Winter’s Tale,” paper at University of California

Shakespeare Forum meeting, 1991

 

“Women Re-Producing Ancient Drama,” lecture with video clips presented at “Classics and Feminism” conference (University of Cincinnati), Brown University, Utah State University, University of Massachusetts/Amherst, UC Santa Barbara, Case Western Reserve University, Philological Association  of the Pacific Coast annual meeting 1992, Hamilton College

 

Respondent, conference on “Sophocles’ Electra: Greek Tragedy in Word and Action,”

Northwestern University, 1993

 

“Genre and Performance in Euripides,” conference “How Is It Played? Genre, Performance, and Meaning,” Texas A & M University, 1994

 

Review of productions of Menander’s Woman of Samos and Plautus’ Casina, Getty Museum, Malibu, in Didaskalia II.1 (1995)

“Maenadering through History,” keynote presentation, symposium on The Bakkhai,

Great Lakes Theater Festival, 1995

 

“Comedy Today: Plautus in Performance,” American Philological Association, 1995

 

Effie and the Barbarians,” paper at Comparative Drama conference, 1996

 

“Historicizing Performance Then and Now,” conference “Behind the Seen: Text,  Translation, Performance,” UCSC 1996

 

“Ancient Drama: The Difference Women Make,” lecture at University of Utah, 1996;

at McPherson Center for Art and History, Santa Cruz, 1996; at conference

“Crossing the Stage,” University of Saskatchewan, 1997; at University of

Washington, 1997

 

“The Alterity and Familiarity of Ancient Drama,” NEH Summer Institute on New

Perspectives on Classical Antiquity, University of Arizona, 1996

 

Panel co-organizer, “Crossing the Ancient Stage,” American Philological Association,

1996

 

Three-year colloquium co-organizer (with Eva Stehle), “Varieties of Performance in the Ancient Mediterranean,” American Philological Association, 1997-99

 

“Performaneutics,” keynote address, Pacific Coast Ancient and Modern Literature

Association, 1997

“Staging Aeschylus: the Difference Women Make,” Oberlin College, 1997

 

“Violence in Film: a Classical Perspective,” University of Maryland, 1998

 

“Introduction” to “Crossing the Ancient Stage” (Didaskalia  3.2 (spring 1997)

 

“Toga Party: Plautus, Seinfeld, and Other ‘Friends:’ Ancient Roman Comedy and

       American Sitcoms,” Bucknell University, 1998

 

“Performing Comedy in Ancient Athens,” Berkeley Repertory Theatre Inservice Day

for teachers, 1998

 

“Reading as a Man: Gender and Performance in Roman Elegy,” Helios 25 (1998): 79-95

 

“No Laughing Matter? Rape in Roman Comedy” Conference on Classical Comedy/Contemporary Commentary, University of New Mexico, 1998

 

“Staging Ancient Drama: the Difference Women Make,” Syllecta Classica 10 (1999): 22-42

 

“Euripides’ Helen Onstage” Vassar College, 1999

 

“Laboratory or Museum? Ancient Scripts On Stage,” keynote presentation, conference

on Euripides’ Helen, Duke University, 1999

 

Guest Editor, special issue on “Approaches to Theatrical Performance in the Ancient

Mediterranean,” Helios 27: 2 (2000)

 

“An American Tragedy: Chinatown” in Martin M. Winkler, ed., Classical Myth

and Culture in the Cinema, Oxford University Press, 2001)

 

“‘Apollo knows I have no children:’ Scholarship and Motherhood,” Arethusa 2001:

153-171

 

“From Stage to Page: How Performance can Inform Scholarship” Classic Greek Theatre

Festival, Reed College; DePauw University; University of North Carolina, Greensboro; Denison University, 2001

 

“Performing Euripides,” in Robin Mitchell-Boyask, ed., Approaches to Teaching the

 Dramas of Euripides, Modern Language Association of America, 2002

 

Review of Helene P. Foley, Female Acts in Greek Tragedy (Princeton University Press,

2001), Theatre Journal 54 (2002): 167-68.

 

“Revising ‘Authenticity’ in Staging Ancient Drama,” conference on “Contemporary

Performance of Ancient Greek and Roman Drama,” J. Paul Getty Museum, Los Angeles, 2002; UC Berkeley, 2003; University of Washington, 2004, UC Santa Barbara, 2004; Stanford University, 2005; UCLA, 2006; Archive of Performances of Greek and Roman Drama, Oxford University, 2007.

Review of Kathleen McCarthy, Slaves, Masters and the Art of Authority in Plautine Comedy

(Princeton University Press, 2000), American Journal of Philology 123: 297-301.

 

Guest Editor, “Performing/Transforming Aristophanes’ Thesmophoriazousai,

The American Journal of Philology 123.3 (Fall 2002); “From Thesmophoriazousai to The Julie Thesmo Show: Adaptation, Performance, Reception” (465-99)

 

Norton Clapp Lecturer in the Arts, University of Puget Sound, 2002

 

Review of David Wiles, Greek Theatre Performance: an Introduction (Cambridge  UniversityPress, 2000), Classical World 96.2 (2002): 222-223.

 

Conference organizer, “Authenticity and Revision in Performance: the Case of Hrotsvit and Terence,” UCSC, May 2003.

 

Interviewed for professional video Women in Greek Drama (Films for the Humanities and Sciences, 2003).

 

“So Now Slaves Fall in Love Here? Performing Roman Comedy Then and Now,” University of Iowa, 2004.

 

Invited Participant, “Oedipus Unmasked” conference, University of Colorado, 2005.

“The Triumph of Cupid: Dido Queen of Carthage at ART,” American Journal of Philology

             126:4 (2005), 613-22.

 

Classics and Theater Residency, Utah State University, 2005.

 

“Sondheim Floats Frogs,” conference on “Aristophanes Upstairs and Downstairs,”

Archive of Performances of Greek and Roman Drama, University of Oxford,

2004; Aristophanes in Performance  (Oxford, 2007).

 

“Revising ‘Authenticity’ in Staging Ancient Mediterranean Drama,” in Theorising           

Performance Reception: Greek Drama, Cultural History and Critical Practice, Edith Hall and Stephe Harrop, eds, (Duckworth 2010): 153-170.

 

“Can ‘Democratic’ Stagings of Greek Drama be Authentic?” in L. Hardwick and S. J.

Harrison, eds., Classics in the Modern World: A ‘Democratic Turn’?, Classical

Presences Series (Oxford University Press, 2013): 183-195.

 

“Theaters of War” (with Jana Adamitis) in Domina Illustris: Studies in Honor of Judith       

Hallett, Barbara K. Gold, Donald Lateiner, and Judith Perkins, eds. (Routledge,

2013): 284-302

 

“Performing Terence (and Hrotsvit),” in The Blackwell Companion to Terence, Antony

Augoustakis and Ariana Traill, eds. (Blackwell, 2013): 466-481.

 

“The Reception of Iphigenia at Aulis” in Brill’s Companion to the Reception of Euripides,

Rosanna Lauriola and Kyriakos Demetriou, eds. (Brill, 2015)

 

“Greek Drama on the West Coast 1970-2012,” in The Oxford Handbook to Greek Drama       

in the Americas, Kathryn Bosher, Fiona Macintosh, Justine McConnell, and

Patrice Rankine, eds. (Oxford, 2015)

 

Staging Euripides (Medea, Alcestis, Electra) with introduction, commentary, and notes), in progress

 

Reversioning Ancient Drama (Effie and the Barbarians, Eye on Apollo, Prometheus 1.1, The      

Julie Thesmo Show, The Buzzzz!!!!) with introduction, commentary, and notes,

        in progress

 

Revising “Authenticity” in Staging Ancient Drama, in progress