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CURRICULUM VITAE JOSEPH ROACH November 2016 Department of English (203) 432-2233 (O) Yale University, PO Box 208302 (203

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CURRICULUM VITAE JOSEPH ROACH November 2016 Department of English (203) 432-2233 (O) Yale University, PO Box 208302 (203 CURRICULUM VITAE JOSEPH ROACH November 2016 Department of English (203) 432-2233 (o) Yale University, PO Box 208302 (203) 859-8170 New Haven, CT 06520-8302 FAX: (203) 432-7066 http://ipsy.commons.yale.edu/ [email protected] EDUCATION Ph.D. Cornell University, 1973 M.A. University of Newcastle upon Tyne, 1970 B.A. University of Kansas, 1969 PROFESSIONAL APPOINTMENTS 2008- Sterling Professor of Theater; Professor English and African-American Studies; 1997-08 Professor of Theater, English, and African-American Studies; 2001-08 Charles C. and Dorathea S. Dilley Professor, Yale University 1990-97 Professor of English, Tulane University 1993 Visiting Professor, Performance Studies, Tisch School of the Arts, NYU 1987-90 Professor of Theatre and English, Northwestern University 1982-87 Associate Professor, Performing Arts, Washington University in St. Louis 1975-82 Assistant-Associate Professor of Theatre Arts, Sweet Briar College, 1979-1982 1973-75 Assistant Professor, Department of Theatre, SUNY-Albany HONORS, FELLOWSHIPS, AND GRANTS Oscar Brockett Award for Outstanding Teaching, Association for Theatre in Higher Education, 2013 American Academy of Arts and Sciences, 2012- American Antiquarian Society, 2012- Interdisciplinary Performance Studies at Yale, Andrew W. Mellon Foundation, 2011- Honorary Doctor of Letters, University of Warwick (UK), 2009 Fletcher Jones Foundation Distinguished Fellow, Huntington Library, 2008-09 William Clyde Devane Lectures, Yale University, 2007 Distinguished Achievement Award, Andrew W. Mellon Foundation, 2006-09 Lifetime Distinguished Scholar Award, American Society for Theatre Research, 2004 Andrew W. Mellon Foundation Grant, Writing Performance History, 2003 James Russell Lowell Prize, Modern Language Association, 1997 Joe E. Calloway Prize in Drama and Theatre, 1997 Senior Fellowship, National Endowment for the Humanities, 1992-93 Association for Theatre in Higher Education, Outstanding article in the field, 1992 Barnard Hewitt Award for outstanding research in theatre history, 1985 Mednick Fund Grant, Virginia Foundation for Independent Colleges, 1980-1981 Roach - 2 ACADEMIC ADMINISTRATION Acting Director of Undergraduate Studies, Theater Studies Program, 2013 (Spring) Principal Investigator, Interdisciplinary Performance Studies at Yale, 2011- (842k) Principal Investigator, World Performance Project at Yale, 2006-2012 (2.1m) Director of Graduate Studies in English, Yale University, 1998-2000 Chair, Theater Studies Program, Yale, 2009-12, 1997-2001; Acting Chair, 2006-08 Principal Investigator, Writing Performance History, 2003 (103k) Chair, Department of Performance Studies, Tisch School of the Arts, New York University, 1993. Director, Ph.D. in Theatre and Drama, Northwestern University, 1987-1990; Director of Graduate Studies, Department of Theatre, Northwestern, 1989-1990 Chair of Performing Arts, Washington University in St. Louis, 1982-1987 Chair and Producing Director of Theatre, Sweet Briar College, 1975-82 PUBLICATIONS Books: It. Ann Arbor: University of Michigan Press, 2007 Cities of the Dead: Circum-Atlantic Performance. New York: Columbia University Press, 1996. Lowell and Calloway prizes (1997) The Player's Passion: Studies in the Science of Acting. London and Toronto: Associated University Presses; Newark: University of Delaware Press, 1985. Barnard Hewitt Award (1985). Outstanding Academic Book, Choice (1986-87). Rpt. University of Michigan Press, 1993. Croatian trans., Strasti glume: Studije o znanosti glume. Zagreb: Hrvatski Centar. ITI-UNESCO, 2009 Edited Volumes: Theater (Special Issue: Postglobal Dance). Edited with Emily Coates. 40.1 (2010) Changing the Subject: Marvin Carlson and Theatre Studies, 1959-2009. Ann Arbor: University of Michigan Press, 2009 Critical Theory and Performance. Edited with Janelle Reinelt. Ann Arbor: University of Michigan Press, 1992; Second Edition Revised, 2007 Articles: “Production History,” The Cambridge Guide to the World of Shakespeare, vol. 2, 1660- Present, ed. Bruce R. Smith (Cambridge University Press, 2016), 1545-1556 “The Octoroon by John Bell, Nineteenth-Century Art Worldwide 15.2 (2016), Special Issue on The Greek Slave by Hiram Powers: A Tans-Atlantic Object (online) “(Re)search,” Special Issue: The Politics, Processes, and Practices of Editing, Roach - 3 Contemporary Theatre Review 25.1 (2015): 29-31 “Who Has Seen the Most?”, The Drama Review 59.1 (2015): 9-11 “Celebrity Culture and the Problem of Biography,” Shakespeare Quarterly 65.4 (2014): 470-81 “‘Pretty Ghost, a Duet’: On Dying While You Still Look Good,” Theatre and Ghosts: Materiality, Performance and Modernity, eds. Mary Luckhurst and Emilie Morin (London and New York: Palgrave Macmillan, 2014), 128-140 ‘“Mistaking Earth for Heaven’: Eliza Linley’s Voice,” in Bluestockings Displayed: Portraiture, Performance, and Patronage, 1730-1830, ed. Elizabeth Eger (Cambridge and London: Cambridge University Press, 2013), 123-40 “Eloquence and Vocation: Dwight’s Calling,” in Cultural Struggles: Performance, Ethnnography, Praxis, ed. E. Patrick Johnson (Ann Arbor: University of Michigan Press, 2013), 328-31 “Cutting Loose: Burying ‘The First Man of Jazz,’” reprinted in Taking It to the Bridge: Music as Performance, eds. Nicholas Cook and Richard Pettengill (Ann Arbor: University of Michigan Press, 2013), 125-34 “A Feeling for Risk: Notes on Kinesthetic Empathy and the World Performance Project,” Theater 42.1 (2012): 7-9 (Special Issue on the World Performance Project) “The God of Our Idolatry: Garrick and Shakespeare,” Exhibition Catalogue Essay (Lewis Walpole Library, 2012) “Nell Gwyn and Covent Garden Goddesses,” The First Actresses: Nell Gwyn to Sarah Siddons (London: National Portrait Gallery, 2011), 64-75 “Viva Voce: The Efficacy of Oral Interpretation,” Yale Review 99.4 (2011): 108-18 “The Doubting Thomas Effect,” PMLA 126.4 (2011): 1127-30 “Deep Play, Dark Play: Framing the Limit(less),” The Rise of Performance Studies: Rethinking Richard Schechner’s Broad Spectrum, eds. James M. Harding and Cindy Rosenthal (London and New York: Palgrave Macmillan, 2011), 275-83 “Gossip Girls: Lady Teazle, Nora Helmer, and Invisible-Hand Drama,” Modern Drama 53.3 (2010): 297-310 “Performance: The Blunders of Orpheus,” PMLA 125.4 (2010): 1078-1086 “Teaching African-American Dance/History to a ‘Post-Racial’ Class: Project O,” co- authored with the World Performance Project creative team, Theater Topics 19.1 (2009): 1-14 “Sweating Blood: Intangible Heritage and Reclaimed Labor in Caribbean New Orleans,” Performance Research 13.4 (2008): 140-48 “Herbert Blau and the Makeup of Memory in The Winter’s Tale,” Modern Language Quarterly 70.1 (2009): 117-31 “Elizabethan Acting,” “The Kembles,” “Charles Kean,” “Edmund Kean,” forthcoming articles in the five-volume “Shakespeare Encyclopedia,” ed. Patricia Parker “The Uncreating Word”: Silence and Unspoken Thought in Fielding’s Drama,” in Henry Fielding: Novelist, Playwright, Journalist, Magistrate, ed. Claude Rawson (Newark: University of Delaware Press, 2008), 40-57 “America : Society : Theatre : Research,” Theatre Survey 47 (2006): 309-312 Roach - 4 “Public Intimacy: The Prior History of ‘It,’” in Theatre and Celebrity in Britain, 1660- 2000, ed. Mary Luckhurst and Jane Moody (London: Palgrave, 2005), 15-30 “Fresh Produce,” in Writing Race across the Atlantic World, ed. Philip Beidler and Gary Taylor (New York: Palgrave, 2005), 137-152 “It,” Theatre Journal 56:4 (2004): 555-68 “Intangible Heritage,” Theatre Studies: Journal of the Japanese Society for Theatre Research (in Japanese translation) 42 (2004): 129-144 [with Margaret K. Powell], “Big Hair,” Eighteenth-Century Studies 38.1 (2004): 79-99 "Patina: Sarah Siddons and the Depth of Surfaces," in Notorious Muse: The Actress in British Art and Culture, ed. Robyn Asleson (New Haven and London: Yale University Press, 2003), 195-209 "The Global Parasol: Accessorizing the Four Corners of the World," in The Global Eighteenth Century ed. Felicity Nussbaum (Baltimore: Johns Hopkins University Press, 2003), 93-106 "Celebrity Erotics: Pepys, Performance, and Painted Ladies," The Yale Journal of Criticism 16.1 (2003): 211-230; rpt. in Politics, Transgression, and Representation at the Court of Charles II, ed. Julia Marciari Alexander and Catherine MacLeod (New Haven and London: The Yale Center fro British Art and the Paul Mellon Centre for Studies in British Art, 2007), 233-250 "'All the Dead Voices': The Landscape of Famine in Waiting for Godot," in Land/Scape/Theater, eds. Elinor Fuchs and Una Chaudhuri (Ann Arbor: University of Michigan Press, 2002), 84-93 "The Three Unities," in Teaching Performance Studies eds. Nathan Stucky and Cynthia Wimmer (Carbondale: Southern Illinois University Press, 2002), 33-40 "Foreword," The Body Can Speak: Essays on Creative Movement Education, ed. Annelise Mertz (Carbondale: Southern Illinois University Press, 2002) "The Great Hole of History: Liturgical Silence in Beckett, Osofisan, and Parks," The South Atlantic Quarterly 100.1 (2001): 307-17 "Cutting Loose: Burying the 'First Man of Jazz,'" Issues in Death and Dying, ed Robert Harvey (Occasional Papers of the Humanities Institute: SUNY-Stony Brook, 2001) "Deep Skin: Reconstructing Congo Square," African American Performance and Theater History, ed. Harry Elam, Jr. and David Krasner (Oxford, 2001), 101-13 "Vicarious Tourism in Restoration Adaptations of The Tempest," The Tempest and Its Travels, ed. William T. Sherman and Peter Hulme (Reaktion, 2000), 60-70 "Performance," The Cambridge Campanion to Restoration Theatre,
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