Ph.D Princeton University - Slavic Languages and Literatures
I am a recent Ph.D. from Princeton University’s Slavic Department, currently working as the Program Manager of the Slavic Department’s and Center for Digital Humanities’ online archive and exhibition of Cotsen Library’s collection of Soviet Children’s stories (with authors and artists such as Mayakovsky, Kharms, and Deineka). Outside of this project, I am preparing for publication my book Embodiment in Post-Somatic Russian New Drama, which examines the ways post-Soviet theater reacts to the Russian theatrical past, departing from it but not erasing it in its re-systemization of theater in a contemporary, post-dramatic landscape where powerful agencies and constructions of subjectivity exist outside of the body.
My work bridges literature and performance studies and draws extensively on methodologies for fieldwork that come from anthropology and oral history. Through my ethnography I have built a conception of New Drama, situating this hitherto amorphously-defined cultural brand within the contemporary Russian literature canon. A subsequent article from this research appears in TDR/The Drama Review (Issue T-229) and another is forthcoming in the book Russian Performances (Routledge, ed. Boris Wolfson, Julie Buckler, and Julie Cassiday).
My most recent interests in Performance Studies lie in disability, specifically injuries related to trauma. I write about Russian, German, and American dance performances that incorporate role-playing and repetition of movement to help victims of trauma. I focus on performance-therapy that combines models from clinical psychology with role-playing, which some argue to be more effective than talk therapy for gaining a renewed perspective on trauma. Similarly, my involvement in classes and colloquia at Princeton’s History of Science Program (Certificate 2015) has widened my interest in the relationship between science and artistic practice.
I received my BA from Bryn Mawr College, MA from Middlebury College, and studied directing at G.I.T.I.S. in Moscow. It has been my desire to bring vitality to Stanislavsky studies by giving demonstrations in classes and workshops of the method of embodiment made into a master craft by him. In the plays and play-readings that I have directed at Middlebury College and Princeton U., I have endeavored to practice theories of the body and identity originating in Russian and German performance histories.