DEREK MILLER Curriculum Vitae
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DEREK MILLER Curriculum Vitae Department of English http://scholar.harvard.edu/dmiller Barker Center [email protected] 12 Quincy Street, Cambridge, MA 02138 EMPLOYMENT 2013- Harvard University, Cambridge, MA Assistant Professor of English EDUCATION 2013 Stanford University, Stanford, CA Ph. D. in Theater and Performance Studies 2004 Yale University, New Haven, CT B. A. in English, cum laude WORKS IN PROGRESS Judicial Criticism: Performance and Aesthetics in Anglo-American Copyright Law, 1770-1911 A book-length study of the development of performing rights in nineteenth-century Britain and the United States. Close readings of legislative debates and court proceedings reveal how the law defined performance as a legal commodity, and how that process of legal objectification shaped the economics and aesthetics of performance. “On Bow and Exit Music” An article about underscoring for curtain calls in the musical theater. “Musical Chairs” An article investigating the work of stagehands at classical music concerts. “Don John in Performance” An article about J. L. Austin’s performances of the William James Lectures later published as How to Do Things With Words. “How to Get Your (Nineteenth-Century) Book Published for Dummies” An article on the history of how-to manuals for authors and their effects on laicizing and professionalizing authorship. PUBLICATIONS Refereed Journal Articles 2012 “Performative Performances: A History and Theory of the ‘Copyright Performance.’” Theatre Journal 64, no. 2: 161-177. 2012 “Polyvocally Perverse; or, The Disintegrating Pleasures of Singing Along.” Studies in Musical Theatre 6, no. 1: 89-98. 2011 “On Piano Performance - Technology and Technique.” Contemporary Theatre Review 21, no. 3: 261-275. 2008 “‘Underneath the Ground’: Jud and the Community in Oklahoma!” Studies in Musical Theatre 2, no. 2: 163-174. Book and Performance Reviews 2013 Review of Showtime: A History of the Broadway Musical Theater by Larry Stempel and South Pacific: Paradise Rewritten by Jim Lovensheimer. TDR: The Drama Review 57, no. 1 (Spring): 190-3. 2012 “On Material Music Histories,” Review Essay. Musicology Australia 34, no. 2: 307-15. 2009 Review of West Side Story, dir. Arthur Laurents. Theatre Journal 61, no. 3: 479-481. Web-Based Publications 2011 “A Different Good Friday Accord.” Guest Post for the Houghton Library Blog. September 21. http://blogs.law.harvard.edu/houghton/2011/09/21/a-different-good- friday-accord/#more-1546 GRANTS, FELLOWSHIPS, AND AWARDS 2013 Charles R. Lyons Prize for Outstanding Dissertation, Stanford University, Department of Theater and Performance Studies 2012 Littleton-Griswold Grant for Research in U. S. Legal History, American Historical Association 2012 Graduate Research Opportunity Grant in Modern British History and Culture, Stanford University Miller 2 2010- Stanford Interdisciplinary Graduate Fellowship, Stanford University 2013 2008 Graduate Student Fellowship, Stanford Drama Department CONFERENCE PARTICIPATION Panels Organized 2011 Working Group on Intellectual Property and Performance (with Oliver Gerland), American Society for Theatre Research, November 17-20 Papers Presented 2013 “Sex for Sale?: Desirable Bodies in US Performing Rights Litigation, 1856-1911” Princeton American Studies Graduate Conference, April 26-27 2012 “On Bow and Exit Music,” Towards a History of Sound in Theatre (from the 19th to the 21st Century): Acoustics and Auralities, November 21-25 2012 “The Trials of Jesus Christ Superstar,” Association for Theatre in Higher Education (ATHE), August 2-5 2012 “Performative Performances: A History and Theory of the ‘Copyright Performance,’” Performance Studies international #18, June 27-July 1 2011 “Copyright Law’s Absolute Music and the Impossibility of Absolute Musicology,” American Musicological Society (AMS), November 10-13 2011 “The 11:30 Number: Applauding the Musical’s Musical Curtain Call,” ATHE, August 11-14 2011 “Variations on ‘Do Re Mi’; or, An Absolute Music Lesson,” Song, Stage & Screen (SS&S), June 19-22 2010 “Polyvocally Perverse: Stephen DeRosa’s ‘The Baseball Game’ and the Pleasures of Singing Along,” SS&S, September 2-5 2010 “Polyvocally Perverse: Stephen DeRosa’s ‘The Baseball Game’ and the Pleasures of Singing Along,” Harvard Graduate Music Forum, February 27-8 2009 “‘Far from the Home I Love’: Tradition and Diaspora in Fiddler on the Roof,” SS&S, September 2-5 Miller 3 Discussant 2011 “Voice in Theory/Voice in Practice,” ATHE, August 11-14 TEACHING INTERESTS Theater History Business of the Performing Arts Copyright Law Law and Literature Nineteenth-Century Theater Music-as-Performance Musical Theater Dramatic Theory Performance Studies TEACHING EXPERIENCE 2012 Teaching Assistant, “Neo-Avantgarde and Happenings,” Branislav Jakovljevic 2011 Organizer, Undergraduate Arts Circle (Inaugural Year) 2011 Teaching Assistant, “Antigone – From Ancient Democracy to Contemporary Dissent,” Rush Rehm 2011 Teaching Assistant, “The Actor-Director Dialogue,” Rush Rehm 2011 Guest Lecturer, “Avenue Q,” Yost House Dormitory 2011 Teaching Assistant, “Towards a Theater of the Simple: Making a Baby Play,” Ann Carlson 2011 Guest Lecturer, “RENT: Larson’s (Re)Vision,” Program in Writing and Rhetoric 2010 Teaching Assistant and Consultant, “Musical Theater,” Peggy Phelan UNIVERSITY/DEPARTMENTAL SERVICE 2012 Conference Organizer, “Regarding Re- : Reconstruction, Reperformance, Research," Stanford, February 17-18 2012 Researcher for the Vice Provost for Undergraduate Education to help implement the Study of Undergraduate Education at Stanford 2011 Delegate, Michigan Meeting on Arts-Making in Higher Education, University of Michigan, May 4-6 Miller 4 2011 Panelist, The Arts at Stanford, Founding Grant Society, Stanford, April 5 2011 Graduate Student Representative, PhD Student Admissions, Stanford Drama Department PRODUCTION EXPERIENCE (selected) Performer 2012 8 (David Boies), dir. Lindsey Mantoan, Stanford Drama, March 5 2010 All’s Well That Ends Well (Lafeu), dir. Joanna Settle, Stanford Drama and the Public Theatre, November 10-13 2007 The Memorandum (Ballas), dir. Michael Rau, Columbia School for the Arts 2004 Nicky Goes Goth (Christian) by Elizabeth Meriwether (premiere), dir. Shira Milikowsky, New York Fringe Festival 2004 Titus Andronicus (Saturninus), dir. Peter James Cook, Yale University 2003 Ubu is King (Ensemble), dir. Evan Cabnet, Williamstown Theatre Festival 2003 Bat Boy: The Musical (Parker), dir. Shilarna Stokes, Yale Dramatic Association (YDA) Writer 2013 Librettist, First Night at the Opera, music by Giancarlo Aquilanti, and The Soap Opera (An Adaptation of Der Schauspieldirektor), music by W. A. Mozart, Stanford Music, March 8-10 2011 Playwright, Mozart’s 7 Deadly Sins, dir. Marie-Louise Catsalis and Nova Jimenez, Stanford Music, April 15-17 Third-place Award for Best Opera Production from the National Opera Association 2010 Librettist, “Brush Up Your Booklist,” Stanford Humanities Center Annual Booklist Party, February 23 Other 2010 Dramaturg, Rent, dir. Harry Elam, Jr., Stanford Drama, February 18-20 2009 Music Director, Love’s Labors Lost, dir. Karin Coonrod, Stanford Drama and the Public Theater, February 26-8 Miller 5 PROFESSIONAL AFFILIATIONS American Society for Theatre Research Association for Theatre in Higher Education Modern Language Association References Available Upon Request Miller 6 .