THOMAS RICCIO
469.569.0970 cell
The University of Texas at Dallas
Arts and Humanites-ATEC 10
2601 N. Floyd Road
Richardson, TX 75080
972.883.2016
BOSTON UNIVERSITY MFA Theater Education, May 1982
CLEVELAND STATE UNIVERSITY BA English, March 1978
Further study: New York University, Ph.D. program, Performance 83-84
PROFESSOR, PERFORMANCE & AESTHETIC STUDIES UNIVERSITY of TEXAS at DALLAS
2003 to present
Artistic Director of Theatre, Dance and Performance: Story Lab
Faculty, Institute of Interactive Arts and Engineering
Arts and Huanities Senator, Faculty Senate (2004-06); Committee on Safety and Facilities
Creator and Producer: Beta Test (performance and media series 2003-present)
University Committee on Educational Policy, Member (2003-05)
Arts and Humanities Periodic Peer Evaluation, Member
Arts and Humanities Associate Dean Search Committee, Chair, (2005)
Arts and Humanities, Creative Writing Search Committee, Chair (2006)
Graduate Studies Committee for Arts and Humanities (2005-06)
Executive Committee for Arts and Humanities (2004-06)
PROFESSOR, THEATRE UNIVERSITY of ALASKA FAIRBANKS
1988 to 2003
Associate Professor: 1995-2001
Assistant Professor: 1988 to 1995 (Tenure Granted 1995)
Artistic Director, Tuma Theatre (Alaska Native) 1989-98
Department Chair 1995-1999
Theatre Coordinator (under the Speech and Drama Department) 1988-1991
CLA Academic Council (curriculm review for college), Chair, 2000 to 2003
University-Wide Curriculum Review Committee, 2000-2003
University-Wide Core Curriculum Development Committee 1989-91
CLA Core Curriculum Committee, 1998-2000
Provost's Instructional Work Group, Fall 2000-2003
Development of Tuma Theatre (an Alaska Native Performance group), classes, programming, curriculum, and research. Seven original performance works developed and produced.
Initiation of joint performance projects between Music and Theatre Departments resulting in full orchestral productions of "The Magic Flute" and "The Three Penny Opera."
VISITING PROFESSOR UNIVERSITY OF DAR ES SALAAM, Tanzania
Fall Semester 1999. Guest lecturer for four classes: Art and Society, Film and Television Writing, Art Communication and Social Mobilization, and African Theatre. Conducted filed research in traditional Tanzanian performance, community theatre, and 'Theatre for Development'. Conducted workshops in stage direction and was advisor to several student projects.
VISITING PROFESSOR KOREAN NAT'L UNIVERSITY OF ARTS
Fall Semester 1996. Sabbatical leave. Taught three classes: Graduate Directing Seminar (with each student creating an original piece); an Acting Studio; and a Workshop in Traditional Korean Performance for Contemporary Expression. Developed and directed an original performance extrapolated from traditional P'ansori and Mask Dance. Conducted filed research in Korean Shamanism and traditional performance.
ARTISTIC DIRECTOR ORGANIC THEATRE COMPANY, Chicago
May 1985 to August 1988. Successor of theater founder, Stuart Gordon; responsible for all artistic programming, producing and presenting. OTC was dedicated to the presentation and/or creation of multicultural and inter-disciplinary work. Produced, presented or co-produced over 150 events of theater, performance, music and visual, arts--including national and international presentations. Founder of the Organic Theater Greenhouse a research and development wing of the theater which supported, via direct or in-kind support, nearly a dozen theater and performance groups.
DRAMATURG, RESIDENT DIRECTOR THE CLEVELAND PLAY HOUSE
August 1985 to May 1986. Responsible for all theater publications relating to the theater's 13-play season--including program notes, the Curtain Times newsletter and the school program study guide. Responsible for reading and reviewing all new play submissions and supervision of play reading staff. Creator and producer of the theatre’s New Voices/New Directions play development series. Responsible for play production research and Dramaturg for all CPH productions. Resident Director.
ASSISTANT LITERARY DIRECTOR AMERICAN REPERTORY THEATRE, Cambridge
September 1980 to June 1982. Assistant Literary Director to Michael Kustow and Jonathan Marks. Responsible for all new scripts submitted to the theater--their reading and reviewing and supervision of play reading staff. Responsible for reporting script reviews to the Literary Director and Artistic Director. Responsible for liaison with local (Boston, NYC, and national) playwrights and theaters. Contributed to ART program notes and the ART Newsletter. Provided dramaturgical research to directors such as Andre Serban, John Madden, and Lee Breuer. A Harvard University Research Assistant to Robert Brustein.
UNIVERSITY OF NAIROBI, Kenya
Visiting Instructor in Theatre, 1999
CALIFORNIA INSTITUTE OF INTEGRAL STUDIES, San Francisco
Visiting Professor in Drama Therapy, 1995
SCHOOL OF THE ART INSTITUTE, Chicago
Guest Artist in Directing and Performance, 1987
MASSACHUSETTS COLLEGE OF ART, Boston
Artist-in-Residence-Performance, 1985
KARAMU HOUSE, Cleveland
Instructor, Acting and Voice, 1982-83
CUYAHOGA COMMUNITY COLLEGE, Cleveland
Instructor in Acting, Make-up, summer 1982
STREEAlternative H.S., teacher in English & Theater, 1983-84
M.I.T, Cambridge, MA,
Workshop Instructor, Acting 1980-81
MIAO CULTURE BUREAU, Xiangxi Autonomous Prefecture, Hunan, China
Initial research in Miao performance: travel, interviews, and material gathering. Documentation of Miao Nuo performances, Shaman initiations and funeral rites in preparation for the development of a large-scale performance based on Miao performance traditions and in conjunction with the Hunan City Theatre. Research & travel supported by the Xiangxi Cultural Bureau and the University of Alaska. December-January 2000-01
!XUU AND KHWE CULTURAL PROJECT, lower Kalahari Desert, South Africa
Six week residence to conduct performance workshops and research with the !Xuu and Khwe Bushmen. The workshop included interviewing and documenting the performance expressions of music, ritual, and dance of the Bushmen. The project laid the groundwork for the development of a performance group and project that would apply traditional performance to express contemporary issues. The workshop group included eight traditional healers and extensive fieldwork was conducted in the area of traditional healing methods and ceremony. May through June 1994
CENTER FOR THE ARTS, Lusaka, Zambia
Director/Choreographer and workshop instructor of the Litooma Project, a two and one half month project that brought together performers from eleven different tribal groups from throughout Zambia. Included in the group were representatives from the Lozi, Bemba, Senga, Lala, Luvale, Tonga, Tembuka, Nugoni, and Chewa tribes. This first ever attempt at creating a national theatre style that crosses tribal boundaries created Imipashi (The Spirits), a full-length outdoor performance piece (performed both in day light and at night), which toured throughout Lusaka and the surrounding provincial areas. The performance, inspired by a Lozi creation myth and including traditional ceremonial practice, featured traditional story telling and dance, large and small puppets, masks, and popular theatre techniques.
February to May 1994
NATAL PERFORMING ARTS COUNCIL, Durban, South Africa
Director/Choreographer of the HLANGANANI Project, a four-month project to research and develop performance methodology that addresses and expresses the unique needs and worldview of Natal’s under-served Zulu population. The production developed during the project, Makanda Mahlanu (Five Heads), included elements of Zulu traditional and contemporary dance, song, story telling, praise singing, ritual, and drumming in addition to comedy and magic. This popular theatre production was performed both indoors and outdoors. The production toured through out Natal and kwaZulu was performed 31 times in every variety of townships, rural and urban setting. August to December 1993
SAKHA NATIONAL THEATRE, Yakutsk, Russia (Siberia)
Invited by the Minister of Culture of the Republic of Sakha to work with the Sakha National Theatre. Conducted theatre workshops and evolved, directed/choreographed an original production inspired by the folk tale of "Bayberican." The production of Sardaana explored and applied traditional Sakha and shamanistic performance idioms. The production included sixteen actors and is now a part of the company's permanent repertory. Work in the Sakha Republic also included extensive travel and research in the field of performance and shamanistic traditions of the Sakha. May to August 1993
TUMA THEATRE, Fairbanks, Alaska
Sponsored by the University of Alaska, Fairbanks. Program Director and Instructor of University classes in Alaska Native performance (1988 to present). Travel, academic research, and fieldwork throughout Alaska. Director and choreographer of seven Tuma Theatre productions: Utetmun (Going Home); The Child From The Sea, Qayaq: The Magical Man, The Eagle's Gift, Inua, NAAM/GEN EEHU, and Yup’ik Arnaq. All productions applied dance, drumming, and theatrical techniques and methods evolved from Alaskan Eskimo and Athabaskan Indian ceremonial, ritual, and performance traditions. Ongoing from 1989 to 1998
KWASA GROUP, Durban, South Africa
A project sponsored by the Natal Performing Arts Council one of the four regional arts councils funded by the national government. Conducted extensive training workshops and with the same group; directed and choreographed a company developed performance inspired by the Zulu legend of Umshayandlela. Emandulo (The Ancient One) was performed 28 times in Durban and Pietrmaritzburg. The cast consisted of 19 Zulu and 8 non-Zulu actors. The project explored and applied traditional Zulu dance, drumming, and performance expressions in a contemporary context. The production marked the first time NAPAC sponsored a multi-racial performance that applied indigenous expressions and methods. Spring 1992.
METAMORPHOSIS THEATRE, St. Petersburg, Russia
Conducted workshops and directed/choreographed a company developed performance derived from trance experiences. Shadows From The Planet Fire was performed in St. Petersburg and subsequently toured northern Russia, the Ukraine, and Bulgaria during the fall of 1992. Metamorphosis Theatre is dedicated to the exploration and theatrical application of pre-Christian Slavic rituals. The project further their explorations as it expanded on methodology and performance vocabulary. Summer 1992
SPRINGS THEATRE, Holstebro, Denmark
Conducted workshops and co-directed a company developed performance based on Hindu legend of King Harichandra. Kaliyugam (In the Time We Live) is the first project of Springs, a group of refugee Tamils from Sri Lanka. Work with this group included performance and administrative development. "Kaliyugam" was a workshop presentation that applied--in a contemporary context--the traditional dance and theatre styles of Bharata Nadyam and Khutu.
Intermittently during the spring and summer 1992
TUKAK' TEATRET, Fjaltring, Denmark
Guest Artist and Instructor. Conducted classes in movement, Alaskan Eskimo dance and drumming. Movement instructor for their production of Tuullik (the Loon) which was presented at the Inuit Circumpolar Conference and subsequently toured Canada and Europe. Assisted in the exploration and articulation of a Greenland Inuit performance language inspired by their drumming and storytelling traditions.
Intermittently during the spring and summer 1992.
WORLD ESKIMO-INDIAN OLYMPICS,
UNIVERSITY OF ALASKA MUSEUM, Fairbanks, Alaska
Developed and directed/choreographed Northern Inua a demonstration performance of traditional Alaska Native games. Presented throughout the summers of 1990, 91 and 1995-2003. This tourist oriented show evolved from extensive archival research and work with native elders; included were historical audio-visual references as well as live demonstrations. Summer long, June through August (two performances per day) presentation at the University of Alaska Museum.
STAGE DIRECTING
Organic Theater Company, Chicago
Little Caesar, Adapter
The Conduct Of Life, By Marie Irene Fornes
Titus Andronicus, By Wm. Shakespeare (Featuring John C. Reilly)
Betawulf, Adapter
Rubber City, Playwright
The Stranger In Stanley's Room, By G. Freek
Kiss It Good-Bye, By M. Miner & Scott Jacobs
Akron, Playwright
Teatro Di Roma, National Theatre Of Italy
Il Ronzio Della Moche, By Dario D'ambrosi
Sakha National Theatre, Yakutsk, Russia (Siberia)
Sardaana, Company Developed
La Mama Etc, New York City
La Mulata, By Estaban Fernadez
The Buzzing Of Flies, By Dario D'ambrosi
Le Boursedes Artistes, Zurich, Switzerland & European Tour
The Big Deal, & Playwright
New York Theatre Workshop, New York City
The Grand Hysteric, By Sheldon Rosen
The Box, By Sheldon Rosen (Featuring David Hyde Pierce)
American Theater Of Actors, New York City
Leather Heart, By Frank Megna
Publick Theatre, Boston
The Country Wife, By William Wycherly
Playwrights Platform, Boston
The Body Parts, By Matt Witten
University Of Texas At Dallas
There Is Never A Reference Point, By Jamie Dakis , Adapter
Fernando Krapp Wrote Me This Letter, By Tankred Dorst
Kartasi, By Thomas Riccio
Tuma Theatre (Alaska Native)
Utetmun (Going Home), By Paul Jumbo
The Child From The Sea, Company Developed
Qayaq: The Magical Man, Company Developed
The Eagle's Gift, Company Developed
Inua, Company Developed
Naam/Gen Eehu, By Evelyn Alexander (Athabaskan Elder)
Yup’ik Arnaq, By Theresa John
Natal Performing Arts Council, South Africa
Makanda Mahlanu, Company Developed
Kwasa Group, South Africa
Emandulo, Company Developed
Metamorphosis Theatre, St. Petersburg, Russia
Shadows From The Planet Fire, Company Developed
Center For The Arts, Lusaka, Zambia
Imipashi (The Spirits), Company Developed
University Of Alaska Museum
Northern Inua, Playwright
Massachusetts Institute Of Technology (M.I.T.)
Ghost Sonata, By August Strindberg
Prometheus Bound, By Aeschylus
Karamu House, Cleveland
City Cuts, Company Developed
Institute of Arctic Biology, Toolik Research Station, Brooks Range, Alaska
College of Liberal Arts, University of Alaska Fairbanks
Fellowship sponsored by UCLA and the Ford Foundation. A six-week fellowship sponsored by UCLA’s Center for Intercultural Performance, Department of World Arts and Cultures. Participated in intensive intercultural workshops, exchanges, and development projects. Participants included traditional and contemporary artists from Vietnam, Thailand, China, Japan, Indonesia, Tibet, India, Korea, and the USA.
Career Opportunity Grant to conduct workshops in Kenya and Tanzania
Career Opportunity Grant to conduct workshops in England
Travel Grant to conduct workshops in England
Travel Grant to conduct workshops and lectures in Finland
Museum Appreciation Award for Service to the Museum
For Travel, workshops, and lectures in Stockholm
Career Opportunity Grant to attend rehearsals of my play in Germany and conduct workshops and give lectures in Sweden.
Grant for research and documentation of traditional Bushman Healers
Grant to conduct theatre workshops with the !Xuu and Khwe Bushmen
Workshop Grant to conduct the Litooma Project, Lusaka, Zambia
Grant to support the Litooma Project, theatre workshops with Zambian tribal groups
Grant to support the production of IMIPASHI
Grant to support IMIPASHI rehearsals and performance
Grant to support the Zambian national tour of IMIPASHI
Grant for documentation and tour of IMIPASHI
Grant to support the Litooma Project workshops and the performance of IMIPASHI
Travel Grant to Natal, South Africa to develop indigenous theatre program at the Univ. of Zululand
“Dancing Bear” award in recognition of work with Tuma Theatre and Alaska Native Performance
Travel to Collections Grant. Travel to conduct research at the Museum of Natural History, NYC, Jesup Collection
To travel and conduct workshops in performance at rural campus sites.
To travel and conduct Alaska native performance workshops at Perseverance Theatre, Juneau
University Alaska-Fairbanks Grant. Village travel to study Yup'ik, Siberian Yup'ik, King Island, & Inupiat Eskimo performance tradition
To Seattle for museum research and conference attendance
Six-Week Institute: “Myth, Memory & History: Sources for Writing American Indian History”. Newberry Library, Chicago.
For travel and observership with Los Angeles and San Francisco theatres.
Salary and travel to work with Robert Whitehead for the premiere production of LILLIAN
To direct an original play at the National Theater of Italy
Best Direction END OF THE WORLD,
Selected as a promising new director. Initial year of a grant the provided a full professional production Off-Broadway. Cast included David Hyde Pierce.
Board of Directors: Fairbanks Drama Association (1997-2003)
Served as Vice-President, Co-chair of Building Committee, Artistic Director and chair of Artistic Directions Committee, charged to choose season offerings and coordinate artistic programming.
Advisory Board: Out North Theatre, Anchorage, Alaska (1998-present)
National Advisory Board, Edward Albee / Last Frontier Theatre Conference, (1999-present)
Association for Asian Performance
Society of Stage Directors and Choreographers (inactive)
American Theater in Higher Education/ATHE
American Association of University Professors
International Federation for Theatre Research
Who's Who in America, Entertainment & in the WestRegistered, U.S. Merchant Seaman
EDWARD ALBEE THEATRE CONFERENCE, Valdez, Alaska
Selection Committee and New Plays Panelist critiquing play readings in a public forum, 1999, 2000, 2001, 2002. Other panelist have included: Jack Gelber, Larry Sacharow, William Hoffman, Ed Bullins, and Arnold Wesker.
Dramaturg for ORCHIDS IN THE MOONLIGHT, by Carlos Fuentes
World premiere production
Assistant Director for GROWNUPS, by Jules Feiffer
World premiere production, John Madden, Director
Acting Understudy for Tony Shalub, 1980 to 82
CLEVELAND OPERA
Assistant Director for LA TRAVIATA
HUNTINGTON THEATRE, Boston
Public Relations Intern
Directors and Dramaturgs Group member
Actor and Performer in over thirty different roles and presentations (list upon request)
Performing Africa, (collection of essays) presntly under reivew.
Village in the Sky, (travel stories encoutering indigenous performance), final edit prior to publisher sumbisison
Book:
Reinventing Traditional Alaska Native Performance
Mellen Press 2003, 329 Pages. ISBN: 0-7734-6987-7
Articles:
“Kenya’s Community Health Awareness Puppets”
PAJ, Performing Arts Journal, Vol. 76 January, 2004
“Body as Text: Inupiat and Yup’ik Story Dancing”
Conference Proceedings, Int’l Theatre Institute, Krakow, Poland, 2004
“Museum Collections” encyclopedia contribution
The Encyclopedia of Shamanism, ABC Publications, 2004
“African Theatre in Performance” a book review
Theatre Journal, Johns Hopkins Press for the ATHE, (vol. 54 # 3) October 2002
“Tanzanian Theatre: From Marx to the Marketplace”
The Drama Review (TDR), New York Univ., MIT Press, Spring 2001 (#T169)
“Reimagining Yup’ik and Inupiat Performance”
The Northwest Theatre Review, Vol. 7, 1999
“War Cries” a book review
American Indian Culture and Research Journal, UCLA Spring 1998 (vol. 22, 2)
“The Shape of Ritual” The Round Organ, The Round Festival, UK, April 1998 (#7)
"Making a New Story with the !Xuu and Khwe Bushmen"
Theatre Forum, UC San Diego, Winter/Spring 1997 Number 10
"Politics, Slapstick and Zulus on Tour"
The Drama Review (TDR), New York Univ., MIT Press, Winter 1997 (#T152)
“Trickster by Trade: Thomas Riccio on Indigenous Theatre,”
An Interview by Dale Seeds. The Drama Review (TDR), New York Univ., MIT Press Winter 1997 (#T-152)
"Today We Sing: !Xuu and Khwe Bushmen Healers See the Sickness"
Shaman's Drum magazine, Summer 1996
“In Zambia, Performing the Spirits"
Theatre Forum, UC San Diego, Winter/Spring 1996, Number 8
"Emandulo: Process and Performance in a Changing South Africa"
Theatre Research International, Oxford Univ. Press, Autumn 1994 (vol. 19 #3)
"A Message from the Eagle Mother: The Messenger's Feast of the Inupiat Eskimo"
The Drama Review (TDR), New York Univ., MIT Press, Spring, 1993 (#T137)
"Alaskan Eskimo Theatre: Performing the Spirits of the Earth"
Theatre Topics v.1 Am. Theatre in Higher Ed., Johns Hopkins Press, Spring, 1991
"Is Chicago Theater Hot or Not?" Facets Features, Chicago, January, 1988
"Trying to Get Objective and a few Ideas About Performance Art & Other Things"
P-FORM, Randolph Street Gallery, Chicago, Vol.2 No. 2 April/May 1987
Numerous program notes and articles for the A.R.T. Newsletter, American Repertory Theater, including interviews with Carlos Fuentes, Robert Aluetta, Lee Breuer. 1980-82
Numerous program notes, study guides, articles for Curtain Times, including interviews with Arthur Kopit, Zoe Caldwell, and Robert Whitehead. Cleveland Play House, 1985-86
Theater Critic, The Daily Free Press, Boston University 1980-82
Produced 1996.
Produced, 1991.
Produced, 1992.
Produced, 1995.
Produced, 1992.
Literary representation in Germany by The Litag Agency, Bremen
REFRESH: Histories of New Media, 2005 Conference, Banff Center, Alberta, Canada
presentation: World Narrative: The Creation of a New Place?
THE HUMAN BODY: Universal Sign, Rhythm Steps of Africa, 2005 Conference, Jagielonian Univseristy, Krakow, Poland. Programming/Steering Committee. + Weeklong Workshop and paper presentation.
INTERNATIONAL PERCUSSION FESTIVAL: Sources and Inspiration, 2004 Polish Academy of Music, Krakow, Poland. Lecture presentaiton: Rhythm Reality
INTERNATIONAL FEDERATION OF THEATRE RESEARCH, 2003 Conference, Jagielonian University, Krakow, Poland “The Human Body: A Universal Sign”
Paper Presentation: Body as Text: the Story Dancing of the Yup’ik and Inupiat Eskimo.
INTERNATIONAL FEDERATION OF THEATRE RESEARCH 2002 World congress, Amsterdam
Paper presentation: (Re) Inventing Place, Culture and Performance: The New Indigenous
INTERNATIONAL PUPPET FESTIVAL 2002, Nairobi, Kenya
Conducted a series of workshops sponsored by Edupuppets and the Ford Foundation. Workshops included: Performance Creation and Presenting the Story of AIDS
NATIONAL THEATRE OF KENYA, Nairobi
Conducted two Actor Training and Performance Creation workshops
COLLEGE OF WOOSTER, Ohio
Visiting Artist. Week long workshop in performance development. Additional lectures in Black History, Aesthetics, Performance Theory; Public lecture and presentation.
INTERNATIONAL FESTIVAL, THEATRE & MARIONETTES, FITMO 2000 Burkina Faso
Week long workshop in indigenous performance development; Included participants from Ivory Coast, Burkina Faso, Congo, Ghana, Togo, and Mali.
UNIVERSITY OF CALIFORNIA BERKELY
Lecture and workshop in stage direction
TANZANIA THEATRE CENTER, Dar es Salaam
Week long workshop in performance development and stage directing
WORD AND ACTION: ROUND FESTIVAL, Dorset, England
Lecture and workshop on Creating Ritual Performance
HELSINKI INSTITUTE OF ART AND MEDIA, Finland
Lecture and Three-Day Workshop
TURKU SCHOOL OF ART AND COMMUNICATION, Finland
Lecture and Three-Day Workshop on Creating Community-Based Theatre
SOGANG UNIVERSITY, Seoul, Korea
Lecture "Shaman as Performer", for religious Studies Department
NEW YORK UNIVERSITY
Performance Studies Lecture/Panel with Lee Breuer; Richard Schechner moderator
SMITH COLLEGE, Northampton, MA
Lecture and Workshop on Creating Indigenous Performance
MOUNT HOLYOKE COLLEGE, North Hadley, MA
Lecture and Workshop on Creating Indigenous Performance
CIIS, California Institute of Integral Studies, San Francisco
Public lecture and workshop on Indigenous Performance, Annually 1995 to 1997
SAN FRANCISCO STATE UNIVERSITY
Lecture on Eskimo Masks and Indigenous performance
CITY COLLEGE OF SAN FRANCISCO
Lecture presentation on Creating Indigenous Performance
DRAMATISKA INSTITUTET, Stockholm Sweden
Lecture, National Theatre Institute
VÄSTANÅ TEATRE, Munkfors, Sweden
Public lecture and weeklong workshop with Swedish folk theatre
IDEA 95 INTERNATIONAL DRAMA IN EDUCATION ASSOCIATION, Australia
Re-imagining Indigenous Performance, Workshop and Lecture presentation
TAMPERE INTERNATIONAL THEATRE FESTIVAL, Tampere, Finland
Creating Indigenous Performance, Lecture Series presentation
ARIZONA STATE UNIVERSITY, Tempe
Lecture: “Performing a Community of Place”
OUT NORTH THEATRE, Anchorage
Creating Theatre, Workshop
EASTERN NEW MEXICO STATE UNIVERSITY, Portales, NM
Workshop: Creating Indigenous Performance
BILINGUAL MULTICULTURAL EDUCATION CONFERENCE, Anchorage
Workshop: Story telling, oral history, and performance
FORT YUKON SCHOOL DISTRICT, Alaska
Lecture and Workshop series on creating Alaska Native Theatre,
KUSKOKWIM COLLEGE, Bethel, Alaska
Alaska Eskimo Performance: Re-discovery of Tradition, lecture and workshop
PERSEVERANCE THEATRE, Juneau, Alaska
Alaska Native Performance, Workshops
CLEVELAND PUBLIC THEATRE, Cleveland, Ohio
Alaska Native Performance, Week long workshop series
ATHE, AMERICAN THEATRE IN HIGHER EDUCATION CONVENTION, Seattle
Director from the Spirit World: The Alaskan Eskimo Shaman, Workshop
AMERICAN COMMUNITY THEATRE FESTIVAL, NORTHWEST, Alaska
Performance Development: Realizing Community Potential, Workshop
SHIKASTA TEATRE, Stockholm, Sweden
Week-long workshop with international multi-cultural theatre.+ public lecture.
NORTHWEST DRAMA CONFERENCE, La Grande, Oregon
Performance Styles in Traditional Alaskan Eskimo Theatre, Workshop
CLASSES TAUGHT
Undergraduate:
Graduate: