Elena Susanna Weygandt, Ph.D

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Elena Susanna Weygandt, Ph.D. Department of Russian Studies ∙ Dalhousie University 3015 Marion McCain Arts and Social Sciences Building ∙ 6135 University Avenue Halifax, Nova Scotia, Canada B3H 4R2∙ [email protected] ∙ +1 (902) 579-2770

ACADEMIC EMPLOYMENT & AFFILIATION ______Fall 2016 - Instructor of Russian culture & language. Department of Russian Studies, Dalhousie University, Nova Scotia. Supervising 5 TAs in the pedagogy of Russian culture and non-text media http://www.dal.ca/faculty/arts/russian- studies/faculty-staff/our-faculty/full-time-faculty/susanna-weygandt.html

Spring 2016 Writer in Residence Program. New York University (NYU), The Jordan Center http://jordanrussiacenter.org/writers-residence/

Fall 2015 Project Manager at Princeton University Slavic Languages Department and The Center for Digital Humanities. Responsible for website archive exhibition; grant applications; Digital Humanities as classroom a pedagogical tool

EDUCATION______2015 Ph.D. Princeton University, Slavic Languages and Literatures, June 2

2012 M.A. Princeton University, Slavic Languages and Literatures, May 19

2008-‘09 Fulbright Research Grant. Visiting Fellow at The School of Dramatic Art (SDA), Moscow. Project: the first written analysis of Anatoly Vasiliev’s method of adaptation of novels to the stage (using Mikhail Bakhtin’s The Dialogic Imagination as theoretical scaffolding). http://www.fulbright.ru/ru/community/weygandt

2007 M.A. Middlebury College, Russian Literature (3.75 GPA). All written work and seminar discussion in Russian

2006 B.A. Bryn Mawr College, Bryn Mawr, PA, Russian Literature Major

DISSERTATION AND THESES Princeton U., Ph.D. “Embodiment in Post-Somatic, Postdramatic Russian New Drama” Defense Committee: Caryl Emerson; Serguei Oushakine; Jill S. Dolan Outside Readers: Boris Wolfson (Amherst); Sharon Marie Carnicke (USC)

Middlebury College M.A.“Plastika tansta Mir Liudei i Veshchei A.B. Droznina / Plastika Dance Choreography in Andrei Droznin’s World of People and Objects.” 55 pp. in Russian. Defense in Russian. Advisor: Galina Aksenova

Bryn Mawr College “Language of Gesture, Mental Imagery, and the Inosculation of Mind and Body in the Stanislavsky System: Unknown, Untranslated, and Forbidden Innovations in the Early Soviet Union” (100 pp.) Advising by Tim Harte

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CERTIFICATES IN COMPARATIVE FIELDS______

Certificate in the History of Science & Technology, 2015, The Program of History of Science & Technology, Princeton U. Research papers in the intersections of art, science & technology in the early Soviet period

Certificate in Theater Directing 2005, Russian State Institute of Theater Arts (GITIS), Moscow Master Pedagogue: Leonid Kheivits

EDUCATION IN RUSSIA______

2006-2007 Graduate studies at the Russian State University for the Humanities RGGU, See Middlebury transcript for Russian/Soviet history, film, & Silver Age poetry courses

2004-2005 Certificate in Advanced Russian Language and Area Studies Program (RLASP) through ACTR at International University, Moscow, Russia. See Bryn Mawr College transcript

2003 Certificate in RLASP through ACTR at KORA Center for Russian Language Study, Vladimir, Russia. See Bryn Mawr College transcript. Summer

Total years of research and language study in Russia: 4

LANGUAGES  Russian – Fluency in Russian scored “Advanced” by ACTR proficiency guidelines (Middlebury Campus) and “11” out of “12” in ALTA Fluency Test;  German – reading fluency. Dual United States/ European Union citizenship;  French – reading fluency, good speaking;  Bulgarian – reading fluency;  Old Church Slavonic – reading fluency

FELLOWSHIPS, HONORS, AND AWARDS______

2015 Mellon School of Theater and Performance Research Fellowship at Harvard University, Cambridge, MA, June

2014 The Graduate School Summer Travel Grant, Princeton University, Talk and Open Mic demonstration of Stanislavsky’s exercises at International Federation for Theater Research (IFTR), England

2013 David A. Gardner ’69 Magic Project Grants in the Council of the Humanities for the Phaedra Symposium: Myth in Translation

2013 Charles Townsend Prize, annual award that goes to outstanding graduate student in the Slavic Department

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2013 Dissertation Research Grant, Princeton Institute for International Research Study, PIIRS

2012 Program in Gender and Sexuality Studies at Princeton U.; the Eberhard L. Faber Fund in the Humanities Council; the Interdisciplinary Doctoral Program in the Humanities at Princeton (IHUM); the Program in Theatre of the Lewis Center for the Arts sponsorship for Literary Theatricality: Theatrical Text Conference

2012 The Graduate School Travel Grant, Princeton University, Fall ‘12 and Spring ‘12

2009-‘10 Gottfried and Sophie Piel Scholarship, awarded to exceptional student admitted to Princeton’s PhD program

2008-‘09 Fulbright Critical Language Enhancement Award for Russian

2004-‘05 George Kline Fellowship, Bryn Mawr College

2004 Bryn Mawr College Summer Arts Grant

2003 Thomas Raebun White Grant for study abroad in Russia

HONORABLE MENTIONS 2016 Finalist for Pembroke Postdoctoral Fellowship in Gender and Sexuality Studies Program competition, Brown University

2016 Finalist for UCIS/Russian and East European Studies Postdoctoral Andrew Mellon Fellowship competition, University of Pittsburgh

INTERVIEWS______

The BBC Science & Technology Radio Program Click! Interview with Susanna Weygandt about her ACLA Seminar at Harvard University, “‘Old’ (dance notation) and New Technologies (digital analogues) for Recording and Preserving Ballet,” July 15, 2016

Vestnik, the journal of The School for Russian and Asian Studies (SRAS). Interview with Susanna Weygandt about her studies at GITIS (The Russian State Institute for Theater Arts) June 16, 2006 http://www.sras.org/vestnik

PUBLICATIONS______

Book Anthologies 2018 Forward, Russia! New Dramas and Manifestos of Second-Millennial Russia, anthology of translated plays in book; website contains translated historical documents. Columbia UP. Edited, introduced, and translated the plays with Maksim Hanukai.

2018 Postcolonial Approaches to Central and Eastern European Performance, co-edited and introduced with Magda Romanska (Professor of Theater, Dance, and Media at Yale U. and Harvard U). In process of submission.

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2016 Three Contemporary Russian Plays (by Dmitry Bykov, Yaroslava Pulinovich, and Sergei Kokovkin). Edited & introduced collection of plays. Translated by Alexander Rojavin. Slavica (Indiana UP)

Article in Peer Reviewed Journal 2016 “The Structure of Plasticity: Resistance and Accommodation in Russian New Drama,” Issue 1-T229 in TDR: The Drama Review, ed. Richard Schechner. Peer-reviewed. MIT Press. DOI is 10.1162/DRAM_a_00527; ISSN for the print edition of the journal is 1054-2043; ISSN for the digital edition is 1531-4715

Article in Book 2017 “The Object as Prosthesis and Protagonist in Russian New Drama.” In Russian Performances. New York: Routledge. Julie Buckler, Julie Cassiday, and Boris Wolfson, eds.

Articles in Russian 2017 «Plasticheskie tela v khudozhestvennikh i nauchnikh eksperimentakh K. Stanislavskogo, T. Lysenko i A. Zal’kinda / The Plastic Bodies of Konstantin Stanislavsky, Trofim Lysenko, and Aron Zalkind inthe Era of Soviet Behaviorism». НЛО

2014 “Deistvie v tvorchestve Ivana Vyrypaeva: perekhod ot fizicheskogo prostranstva k slovesnomu planu,” Noveishaia Drama XX- XXI vv. (“‘Dramatic Action’ in the Plays of Ivan Vyrypaev: A Shift from the Physical to the Verbal Plane,” New Drama of the 21st century.) ed. Tatiana Zhurcheva (Samara, Samara State University, 2014): 113- 118. ISBN 978-5-86465-621-1

2011 “Plasticheskii trening aktera po metodika Andreiia Droznina.” Teatr. Zhivopis.’ Kino. Muzyka. (“The Andrei Droznin Method of Plastika Training,” Theater. Visual Art. Film. Music.), 1 (Moscow: GITIS): 22-45. ISSN 1998-8745

Articles in Volumes 2013 “Performing the Narrator and Language-Images in Pushkin’s Eugene Onegin,” Brown Slavic Contributions, Estrangement Issue. Vol. XIV (Brown University, Providence, RI, 2013): 95- 106 http://id.lib.harvard.edu/aleph/013732396/catalog;

2009 “Eugene Onegin the Novel in Verse as Material for Beginning and Intermediate Russian Language Instruction,” American Center at the Russian State University for the Humanities Annual Conference on Pedagogy. (RGGU: Moscow, 2009).

Review 2014 Review of “Queuetopia: Second-World Modernity and the Soviet Culture of Allocation,” doctoral dissertation by Andrew Chapman, University of Pittsburgh, Dissertation Reviews, http://dissertationreviews.org/archives/11726

Work in Progress: Book manuscript of After Stanislavsky: Post-Somatic Drama in Russia. Invited by editors Rebecca Schneider (Brown U.) and David Krasner to submit to University of Michigan Press

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My scholarship, quoted in: 2017 My article “The Structure of Plasticity” quoted in Dusty Wilmes, “Beyond Representation: Affect and Audience Reception in the New Drama of Ivan Vyrypaev,” forthcoming Studies in Russian and Soviet Cinema. 2016 My article “The Structure of Plasticity” quoted in Seamus Whitty, “Embodiment and the Performance Praxis of Stanislavsky and Grotowsky” M.A. Thesis Trinity College, Dublin, English Literature/Literary Theory Department 2016 My conference paper “Early Soviet Plasticity in the Sciences and Arts” quoted in Alaina Lemon’s book, Technologies of Intuition: Aesthetics and Politics in Battles for Feeling after Socialism. 2016 Sarah Clovis Bishop, “Bakhtin Attends the Theater: Kama Ginkas’s Chekhov Trilogy,” Russian Review, Vol 75, Issue 2, 29 March 2016. 2015 My dissertation chapter on Teatr.doc quoted in Aniko Szucs, “Recontextualizations of State Security Documents in Contemporary Hungarian Performance.” Dissertation. NYU Performance Studies Department, New York, December 15 2015 My article on Anatoly Vasiliev quoted in Caryl Emerson, “Bakhtin and the Actor (with constant reference to Shakespeare),” SEET (Studies in East European Thought) Vol 67, № 1-2 June

My scholarship used in the curriculum of: 2016 “Russian Drama and Theater” course, Prof. Manon Van de Water, University of Wisconsin, Madison. Spring semester; 2015 “SLA 412: Contemporary Russian Culture” course, Prof. Dmitry Bykov, Princeton U. Spring semester; 2014 “SLA 250: Dance, Film, and Theater of the Twentieth-Century Russia” course, Prof. Katy Clark, Yale U., Spring Semester

Unofficial Doctoral Research Mentoring: Ania Aizman, “The Afterlife of Alexander Vvedensky: A Production History of OBERIU Texts,” Harvard University Dept. of Comparative Literature. Dissertation in process.

TEACHING/RESEARCH INTERESTS Slavic/Comparative literature Russian modernist literature and culture; Contemporary and late-Soviet literature and media; Post-Socialist transition, identity, and trauma studies; History of Russian feminism; Realism and the documentary in film and fiction (General Exams field, examined by Devin Fore); Visual, iconographic, and environmental aspects of Soviet culture and Soviet design; Object affect and libidinal materialism; Prague School Literary and Semiotic Theory; 18th through 21st-century Russian drama;

Theater and Performance Studies: World theater history (General Exams field, examined by Jill S. Dolan); The Inosculation of Literary Theory and Performance Theory; Dance; Disability;

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History of Science & Technology: Materiology and Object Affect (General Exams field, examined by Serguei Oushakine); “Art, Science, and Technology”; Soviet utopian science experiments

TEACHING______2017 Instructor, GENDER/RUSN 1070.03 Modern Russian Culture: The Body, Identity, and Sexuality in the Long 20th Century. Dalhousie University. Spring semester. 65 students (supervised 2 graduate student TAs).

2017 Instructor, Third Year Advanced Russian: The Lyrical 20th Century (literature conducted in Russian and advanced grammar explanation in English), Dalhousie University. Spring semester. 8 students.

2017 Instructor, Second Year Russian, Dalhousie University. Spring semester. 10 students.

2016 Instructor, RUSN 1020 Culture and Civilization under the Czars, Dalhousie University. A course in which I delve into the genre of the performance lecture to an audience of 131 students. Hired and supervised 4 TAs. Fall semester.

2016 Instructor, RUSN 3000 Third Year Russian Advanced (literature conducted in Russian and advanced grammar explanation in English), Dalhousie University. Fall. 6 students.

2016 Instructor, RUSN 2000 Second Year Russian Intermediate, Dalhousie University. Responsible for all lesson material, testing, and teaching. Fall semester. 10 students.

2015 Assistant Instructor SLA 230 The Great Russian Novel and Beyond with Prof. Ellen Chances; precepted seminars on Turgenev, Tolstoy, Dostoevsky, Chekhov, Nabokov, & Kharms; contributed to design of midterm and final exam. Princeton U., Spring

2015 Instructor of Russian 102, Princeton U. Responsible for all lesson plans; designed quizzes. Graded all material. Spring

2014 Instructor of Russian 101, Princeton U. Responsible for all lesson plans; graded all material. Fall

2012 Assistant Instructor of SLA 220 Survey of Modern Russian Literature, Princeton U. Spring. 2011 Assistant Instructor, Slavic/Theater 381: Pushkin’s Eugene Onegin Petersburg 1823- 31/Moscow 1936/Princeton 2012 with Prof. Caryl Emerson. In-depth readings of Pushkin and the cultural history of EO followed by a Main Stage theater production.

2010-’11 Organizer of public film series. Introduced films. Princeton U. Theme: Socialism.

2008 Assistant Instructor of Intensive Beginner’s Russian, Beloit College, Intensive 8-week Russian Language Summer Program, Center for Language Studies. Organized film series for entire Russian program. Mentored students in study abroad choices.

2002 Teacher of English through Philadelphia Friends Meeting in Hunan Province, China,

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Graduate Student Reading Group 2013- Chair and founder of Post-Soviet Reading Group. Responsible for leading discussions and 2016 creating syllabi of contemporary literature & media. Reading group attended by graduate students from Rutgers U., Columbia U., and Princeton U. grad. students and library staff

Guest Lectures 2015 Lecture and demonstrations of Stanislavsky’s exercises applied to Chekhov scene studies. 90-minute classes. Acting Master Class. CAP21: America’s Musical Theatre Conservatory & Theatre Company (previously a division of NYU), New York City. October 11, 16, 22, 29

2015 “Haptic Knowledge and Extra-Sense Dance and Theater in Russia.” By invitation of Perry M. Sherouse. Lecture and demonstration of body skills for the dancer to Anthropology 357: The Skilled Body course. Princeton U., October 28

2014 “What is Art? in The Seagull.” By invitation of Robert Sandberg. Lecture given to ENG 364/COM 321 Modern Drama course. Princeton U, February 21

2008 Lecture and demonstration of Stanislavsky’s and Meyerhold’s theories of gesture to Acting Master Class, Stella Adler Theatre Conservatory, NYC, NY, February 20

Russian Language Pedagogy training: 2014 Methods of Teaching Russian, Prof. Ben Rifkin, at Princeton U., Fall 2012 Pedagogical training for co-instruction of courses at Princeton U., Spring 2009 Russian Language Pedagogy Course, Prof. Valentina Trufanova RGGU, Spring 2005 Second Language Acquisition, Prof. Dan Davidson, Bryn Mawr College, Fall

TALKS, PRESENTATIONS, CONFERENCES______

Invited Talks (60-90 minutes at various campuses) 2017 “Skaz and Beckett rediscovered in Russian and European theater.” By invitation of Yasha Klots, Hunter College/CUNY, NYC.

2016 “Re-visiting Skaz in Ivan Vyrypaev’s Theater: Rhythms and Sounds of Postdramatic Rap.” By invitation of Marijeta Bozovic to Utopia after Utopia Faculty Seminar, Whitney Humanities Center, Yale University. February 11

2015 “From Metaphor to Direct Speech: Teatr.doc and Russian Factography.” By invitation of Sibelan Forrester. Department of Modern Languages, Swarthmore College. February 10

2015 “Konstantin Stanislavsky versus Trofim Lysenko and Aron Zalkind: The Environment Built Around the Mind as Aberration in Soviet Behaviorist Science.” By invitation of Michael Gordin and D. Graham Burnett to the History of Science Program Seminar, Princeton U., February 23

2014 “Active Minimalism: The Troubling, Participatory Art of Russian Docudrama.” By 7

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invitation of Katerina Clark to Yale University as part of Whitney Humanities Center Working Group on Interdisciplinarity in Slavic Studies. Audience attendance from the Yale Drama School and The Slavic Department, April 30

2013 “The Narrator in Ivan Vyrypaev’s Neo-Brechtian Theater.” By invitation of Serguei Oushakine to Kruzhok, Princeton U. PIIRS. December 3

2009 “The Novel in Verse Eugene Onegin in Intermediate Levels of Russian: Cultural Aspects of Teaching Russian,” Russian-American Center, RGGU, Moscow, Russia, June 10

2009 “Interaction in the Russian Language Classroom: Plays, Music Videos, and Poems in Language Acquisition,” The American Center, Moscow, Russia. January 19

2007 “The Avant-Garde in Contemporary American Opera and Theater: Robert Wilson and Elizabeth LeCompte,” The American Center, Moscow, Russia, May 6

Panel Presentations at National and International Conferences 2017 “Documentary/Sound: Voice, Listening, and the Human” Seminar at ACLA Convention, University of Utrecht, the Netherlands

2017 “Svetlana Aleksievich Assigns a Double Standard to her Text: Post-Colonial Testimony & Gender Critique in War’s Un-Womanly Face” at panel “Svetlana Aleksievich and Sverkhliteratura,” with Serguei Oushakine MLA Convention, Philadelphia, PA Jan. 7

2016 “И – Искусство, Ф – Феминизм: The Aesthetic and Socio-Cultural Drives of Contemporary Russian Feminism” at ASEEES, Washington, D.C. Roundtable Organizer. November 20

2016 “Conceptual Sentimentalism, Dmitry Prigov’s Neo-Sentimental Aesthetics, and the Many Returns of Ivan Vyrypaev’s Dance Delhi.” Invited to panel “Beyond Representation: Affect and Audience Reception in the New Russian Drama of Ivan Vyrypaev” at ASEEES, Washington, D.C. November 17

2016 “Accumulation by Dispossession: The Memory of Devalued Labor in Post-Communist Russia” at Spectacular Labor Performance Studies Focus Group Pre-Conference, ATHE (Advancement for Theater in Higher Education), national conference annual theme: “Bodies at Work,” Chicago, IL, Aug 9

2016 “Russian Academy of Science’s 1925 Photography Exhibition as Empirical Data for a Dictionary of Movement” and introductory remarks to A Dance that is Now: ‘Old’ and ‘New’ Technologies for Preserving and Re-Creating Ballet and Movement Seminar at American Comparative Literature Association (ACLA) at Harvard University.

2016 “Russian New Drama as Social Critique” at American Association of Teachers of Slavic and East European Languages (AATSEEL), Austin, TX, January 7. Roundtable organizer of interdisciplinary round table of theater directors and scholars.

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2015 “Screening Chekhov: Postdramatic Roots, Heroic Abyss, and the Demise of Love and Justice.” Invited to panel “Chekhov on the Cinematic Screen” at ASEEES, Philadelphia, Nov. 21

2015 "The 'Body' of the Text in Ivan Vyrypaev’s Drama and the Sonic Inscription of the Actress Polina Agureeva" at Performance Studies Focus Group Pre-Conference at ATHE, annual conference theme: “Vital Memories.” Montreal, Canada, July 29

2014 “Signifiers of Authenticity: Voices of the Subaltern in Russian and East European Docudrama,” at Slavicists without Borders (SWB), Princeton U., March 12

2013 “Verbatim Theater of the Russian New Drama.” Invited to panel “Scandal and Its Performance” with Eliot Borenstein, Adrian Wanner, and Olga Matich at ASEEES, Boston, November 21

2012 “Intonation as Gesture in Anatoly Vasiliev’s Operatic-Play From the Travels of Onegin.” Invited by Marijeta Bozovic to panel “Revision(s) of Onegin” with Boris Gasparov and Evgenii Bernshtein, ASEEES, New Orleans, November 16

2012 “Soft Matter (Plasticity) in Early Soviet Sciences and Arts,” at “Science as Fiction: Soviet Science in Soviet Culture” panel. American Association of Teachers of Slavic and East European Languages (AATSEEL), Seattle, WA. Panel organizer. January 7

2009 “Literary Theory and Performance Theory: Mikhail Bakhtin & Formalist Thought as Keys to Adaptation Studies.” Invited by Sharon Marie Carnicke to roundtable, “Challenges and Benefits of Working in Collaboration with International Artists” (ATHE), NYC, Aug. 10

2008 “The Development of the Stanislavsky System: Innovations of the Body in Performance,” at “Reading the Soviet Body in Performance and Celebration” panel, AATSEEL, San Francisco. Panel organizer. December 30.

2008 “New Translations and Applications of Stanislavsky in the 21st-Century.” Invited by Sharon Marie Carnicke. Demonstration of Stanislavsky’s training in physical actions and plastika to an audience of 70+ people. Talked about theory behind the movement. ATHE (The Advancement of Theater in Higher Education), Denver, CO. August 8

2008 “Plastika Choreography in Andrei Droznin’s World of People and Objects,” The University of Chicago Slavic Forum, Chicago, Illinois. April 12

2008 “Silence and Chimera: Plastika Language of Gesture” at Mid-Atlantic American Association for the Advancement of Slavic Studies (AAASS), NYU, New York City, March 30

Panel Presentations at Research-Themed Conferences 2016 “Role-Playing, Repetition, and Movement: ‘Theater Therapy’ in Post-Soviet Dance” at REPETITION/S Performance and Philosophy in Ljubljana, at the University of Ljubljana. Sept 22-24. Due to teaching obligation unforeseen at time of conference application, I declined.

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2016 “Female Militia and the Body before it Comes Home in a Bag” at Symposium for Nobel Laureate Svetlana Aleksievich, Princeton University, Feb. 25

2013 “Deistvie v trochestve Ivana Vyrypaeva: perekhod ot fizicheskogo prostranstva k slovesnomu planu, (‘Dramatic Action’ in the plays of Ivan Vyrypaev: A Shift from the Physical to the Verbal Plane”). Invited to Annual New Drama of the 21st Century Conference. Samara State University, Samara, Russia, April 26-27 (in Russian)

2012 “Material Affect, Consumerism, and Constructions of Femininity in Post-Socialist Russia” at Literary Theatricality: Theatrical Text Conference, Princeton Oct. 27

2012 “Soviet Plasticity in the Scientific Experiments of Trofim Lysenko, Aron Zalkind, and Konstantin Stanislavsky” at The Great Experiment Revisited: Soviet Science and Techno- Utopianism conference, Princeton U. February 11

2012 “Mikhail Bakhtin and Anatoly Vasiliev: Reported Speech and Performing the Narrator in the New Millennial Operatic-Play Eugene Onegin.” Invited by Caryl Emerson to After The End of Music History Conference, Princeton U. February 10

2011 “Somatic Exchange: Benjamin’s Innervation and Lev Tolstoy’s Zarazhenie (Infection),” Walter Benjamin Symposium, the German Department, Princeton U., May 3

2011 “New Terminology for Estrangement in the Theater: Anatoly Vasiliev’s Adaptations of Pushkin’s Verse” at Brown University’s Estrangement conference, Providence, RI, April 9

2010 “Neo-Sentimentalism in the Film of Ivan Vyrypaev and its Moscow Conceptualist Roots,” Princeton-Columbia Annual Graduate Student Forum (Pri-kol), Princeton U. meeting, April 16

2009 “Environmental Symbolism and Agamban’s ‘Bare life’ in the Teaching of The Island of Sakhalin and “Ward Six,” (Prostranstvennaia simvolika i ‘golaia zhizn’’ v knige Ostrov Sakhalin i rasskaze Palata № 6’). Invited to the Annual A. Chekhov and M. Gorky Conference, sponsored by the Ukraine Minister of Culture, Yalta, Ukraine, April 7 (in Russian)

2009 “Stanislavsky – Maria Knebel’ – Anatoly Vasiliev: Mimesis and Estrangement in Russian Theater History,” U. S. Fulbright Midyear Enrichment Seminar, Moscow, Russia. January 29, 2009

Conferences Produced 2018 A Dance that is Now: Old and New Technologies for Preserving and Re-Creating Ballet and Movement II. Bi-annual conference. Chair of conference, organizing it at NYU’s Center for Ballet and Dance, under the approval of Jennifer Homans and Center for Ballet and Dance Board. Moderator of twelve presentations by literary, dance, and media scholars from around the world. August 20 & 21

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2016 Spectacular Labor, the Performance Studies Focus Group Pre-Conference at ATHE. 2016 theme: “Bodies at Work: Performance and Labor” in Chicago. Pre-Conference Committee Member, Aug. 9 & 10

2016 A Dance that is Now: Old and New Technologies for Preserving and Re-Creating Ballet and Movement. Three-day Seminar at American Comparative Literature Association (ACLA) at Harvard University. Seminar organizer and moderator of twelve presentations by literary, dance, and media scholars from around the world. March 17-20. http://www.acla.org/seminar/dance-now-%E2%80%98old%E2%80%99-and- new- technologies-preservation-and-re-creation-ballet-and-movement

2013 Myth of Phaedra Symposium. Princeton University. Organized film screening and Q & A with The Wooster Group theater company (NYC) about To You, The Birdie! (Phaedra 2006 production). Responsible for grant-proposal, invitation, travel & technical accommodations. Oct. 4: http://www.princeton.edu/~phaedra/wooster.html

2012 Princeton Slavic Department Graduate Student Conference Literary Theatricality: Theatrical Text about inherent performance capabilities of literature (i.e. narrative turns of speech in Gogol’s skaz, and Pushkin’s masks in Eugene Onegin). Oct. 26, 27.th Chair of the Organizing Committee. Raised $16,000 budget, created CFP, curated panels with national and international speakers, Keynote, and Moscow theater critic (organized visa support). http://literarytheatricality.wordpress.com/panel-4-departing-from-canonical- texts/

2010 Princeton Graduate Student Research Symposium (PRS). Conference curator and organizer for annual sciences and humanities conference for general public, Nov. 10

2010 Princeton Slavic Department’s conference: Undoing Eros: Love and Sexuality in Russian Culture. Conference curator and organizer, October 18 & 19

2010 Princeton University Graduate Student Government Ivy Summit. Conference organizer, October

Invited Discussant 2015 Discussant of “Theater of the Mind: Text and Performance in the Soviet Union” panel, ASEEES, Philadelphia, November 20-22

2015 Discussant of “The Camel and the Caboose: How to Teach Children about Uneven Development”(by Michael Kunichika), The Pedagogy of Images: Depicting Communism for Children Symposium, Princeton University, May 2

2014 Discussant of two dissertation prospectuses: “An Awful Gladness: Infant Mortality and Race from Slavery to the Great Migration” and “Making Nations, Cultures, and Populations: Identity, Citizenship, and Scientific Knowledge in the Interwar World,” at the History of Science Program Seminar, Princeton U. November 17

2014 Discussant of “The Authors and the Enactors of the New Drama” by Boris Wolfson at After Censorship, Before Freedom Workshop before book release of Russian Literature Since 1991 (Cambridge UP). Princeton University. March 29 11

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2013 Discussant of “Beyond Estrangement: Gesture and Dance in the Silver Age” panel at AATSEEL, Boston, January 11.

2012 “Contemporary Russian and Ukrainian Film and Media,” panel at AATSEEL, Seattle, Jan 7

ORAL HISTORY and COMPLETED ETHNOGRAPHIC FIELD WORK 2016 Certification from Oral History Training Institute, Chemical Heritage Foundation, Philadelphia, PA, June

2015 Co-interviewer for The College of New Jersey Oral History Project. Interviewing Russian and Ukrainian Émigrés about post-emigration. Philadelphia, PA. May 28

2014 Co-interviewer during Q & A with Dmitry Kuzmin (with Emily Wang and Geoff Cebula). Interview notifies Princeton community about the poet’s teaching at Princeton in the and his gay rights activism in Russia, January http://www.princeton.edu/res/news/archive/?id=12148

2013 Ethnography of post-Soviet theaters. Conducted oral history project with New Drama playwrights and directors. Moscow, April-October

2002 Ethnography of provincial theater institutes in Yaroslavl’ and Vladimir, Russia. Summer

UNIVERSITY SERVICE 2015 Consultant for Graduate Student course design and syllabus of HUM 598 The Enacted Thought: Performance Practices and the Theatres of Learning on the crossings of pedagogy and performance, taught by D. Graham Burnett (Princeton, History of Science)and visiting artist David Levine (Harvard U.)

2010- Princeton University Graduate Student Government: Slavic Department Rep. 2012

PERFORMANCE AS PEDAGOGY: EMBODIED LEARNING Directing (selected) 2012 Illusions (Ivan Vyrypaev), play-reading at East Pyne Rotunda as part of Literary Theatricality: Theatrical Text Conference, Princeton U. October 26. Russian performance theory embodied: ostroenie (verfremdungskeffekt) from the role prompted by a narrator-centered script

2007 The Twelve (Aleksandr Blok), director and choreographer (ballet on pointe), at Middlebury College Davis School of Russian, Middlebury, VT. Performance in Russian. July 29. Russian performance theory embodied: object affect: the actor’s silent narration with objects in plastika dance

Assistant Directing 2013 Director’s assistant in SLA 312 Russian Drama course, Revizor (Nikolai Gogol). Performance at Slavic Department Majors’ Night. Wilson College Black Box Theater, Princeton U., Russian Majors Night: Dec. 11 12

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2013 Director’s assistant (Dir. Varvara Faer, Teatr.doc), Teatr.doc NYC tour Pussy Riot Eye Witness Theater, Harriman Center, Columbia University, NYC, March 13

2012 Director’s assistant in SLA 312 Russian Drama course, The Dragon (Evgenii Schvartz). Performance at Slavic Department Majors’ Night. Wilson College Black Box Theater, Princeton U., Russian Majors Night: Dec. 12 RUSSIAN/ENGLISH INTERPRETATION FOR THE ARTS 2014 Facilitator at critical engagement with Ivan Vyrypaev and Princeton students and faculty at U.S. premiere of Illusions (translated Kazimir Liske), Baryshnikov Arts Center, NYC. September 17

2005 Consecutive Interpreter for Stella Art Foundation, Moscow, Russia, during interviews for television, and the New York Times. Edited curatorial material for Ilya Kabakov. March

FIELD SERVICE 2016 Reviewer of panel abstract submissions to AATSEEL Conference

PROFESSIONAL ORGANIZATIONS ADSEEES (Association for Diversity in Slavic, East European, and European Studies); ASEEES; AATSEEL; ACLA (American Comparative Literature Association); ASTR (American Society for Theatre Research); ATHE (Association for Theatre in Higher Education Theatre in Higher Education); BASEES; Fulbright Alumni Association; IFTR (International Federation for Theatre Research); MLA; SHERA (The Society of Historians of East European, Eurasian, and Russian Art and Architecture, Inc., an affiliated society of the College Art Association and ASEEES).

MENTORS 1. Serguei Oushakine Associate Professor of Anthropology and Slavic Departments, Princeton U. [email protected] 2. Caryl Emerson Professor of Comparative Literature, A. Watson Armour III University Professor of Slavic Languages and Literatures, Princeton U. [email protected] (609) 258-4730 3. Devin Fore Associate Professor of German and Slavic Departments, Princeton U. [email protected] 4. Jill S. Dolan Dean of the College, Princeton U. Professor of Theatre, English, and Gender & Sexuality Studies (Princeton U.) [email protected] (609) 258-5697 5. Magda Romanska Associate Professor of Theatre Studies and Dramaturgy, Emerson College Research Associate, Minda de Gunzburg Center for European Studies, Harvard University [email protected] (607) 227- 0050 6. Martin Puchner Byron and Anita Wien Chair in Drama, English, and Comparative Literature, Harvard University,

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Director of the Mellon School of Theater and Performance Research [email protected]