Performance Criticism

The Use of Tears in Knausgaard’s My Struggle, Book 1 – Spring 2016
Decadence in À Rebours and Realism in The Lady from the Sea – Fall 2015
Review of Hearts Afire at FringeNYC, Theatre is Easy – Summer 2015
Circumscribed Choice: Women in The Golden Coach and The Last Metro – Spring 2015
The “Empathy Question” in Mother Courage and Friel’s Translations – Spring 2015
A Critical (Performance) Manifesto – Spring 2015
Performance Lecture on Friends and “E. Unibus Pluram” – Spring 2015
Response to Bruce Nauman’s “Instructions for a Mental Exercise, 1974” – Spring 2015
Too Much Input Makes Audrey Go Blind: Review of The SF Neo-Futurists – Spring 2015
Yellow Red Blue: 5 Passes – Spring 2015
Embodying Burlesque Agency: Loïe Fuller’s Performance Lineage – Spring 2015
Prostitution, Refusal, and Identity in Danton’s Death and The Lulu Plays – Winter 2015
Mapping Relationships in The Dance That Documents Itself  and Impromptus – Fall 2014
Thinking Through Gender-Based Oppression With Butler and Lugones – Fall 2014
Reclaiming the Resonance of the Body in the Work of Hrotsvitha – Fall 2014
Hair’s Weight Onstage in Bronislava Nijinska’s Les Noces – Spring 2014
“The Trolls Within”: Emerging Unconsciousness in The Master Builder – Spring 2014
Permanent Shuffling: Trauma and Catharsis in Bausch’s Café Müller – Winter 2014
From Ibsen to Vogel: Belated Mutations of the Postmodern Subject – Winter 2014
The Suzuki Method’s Stamp through Cross-Culturalism – Fall 2013
Jèrôme Bel’s The Show Must Go On – Fall 2013
Trisha Brown’s Accumulation (1971) – Fall 2013
Individualism in Ibsen’s Peer Gynt, Brand, and Emperor & Galilean – Spring 2011
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Note: many of the older entries are pieces of papers I wrote for my master’s (and some not even touching on performance, actually). Though many of them stayed in first-to-secondish drafts, there was always a bit I liked, enjoyed, wanted to hold and keep.