2016 Award Recipients
Monday, August 22, 2016
Jane Chambers Playwriting
Emma Stanton is a Chicago and New York theater artist. She has worked with such companies as Redmoon Theater, American Theater Company, About Face Theatre, Double Edge Theater, Steppenwolf Theatre Company, 600 Highwaymen, En Garde Arts, and Walkabout Theater Company, of which she is Associate Artistic Director. Her plays have been developed at and produced by Walkabout Theater Company, Oracle Theater, American Theater Company, Victory Gardens Theater, JACK, Dixon Place, Centenary Stage Company, and Roundabout Theatre. She was a recipient of a Civics and Arts Foundation Playwriting Award for Emerging Artists in Chicago, her play Bojko and The Glacier was a semi-finalist for a Princess Grace Award, and her play No Candy is a finalist for the 2016 Susan Glaspell Award. Most recently, No Candy was selected by Roundabout Theatre to be part of its Underground Reading Series in New York. BA: Boston College; MFA: Columbia University. www.emmadalbeystanton.com.
Excellence in Playwriting
Cary Mazer is Professor of Theatre Arts and English at the University of Pennsylvania, where he chaired the undergraduate Theatre Arts program for over 20 years. He is author of articles and books on Victorian and Edwardian theatre and Shakespeare in performance (most recently Double Shakespeares: Emotional-Realist Acting and Contemporary Performance [Fairleigh Dickinson UP]); he has worked professionally as a guest dramaturg and theatre critic; and he regularly directs at Penn. In addition to Shylock’s Beard, he is the author of Pinchas Vontz, after Ibsen’s Peer Gynt.
Excellence in Editing
Shelley Orr, Kim Solga and D.J. Hopkins
Performance and the Global City editors (Palgrave Macmillan, 2015) and Performance and the City editors (Palgrave Macmillan, 2009)
Shelley Orr is a dramaturg and theatre scholar, specializing in Twentieth and Twenty-First Century theatre. She is an assistant professor in San Diego State University’s School of Theatre, Television, and Film, where she heads the Master’s in Theatre Arts and advises student dramaturgs. Her professional credits include dramaturging at the San Diego REP for Sex with Strangers (upcoming season), The Oldest Boy, and A Weekend with Pablo Picasso, at La Jolla Playhouse on Beckett’s Happy Days, and on 9 Parts of Desire for Mo’olelo Theatre. She dramaturged Marguerite Duras’s Savannah Bay at New York’s Classic Stage Company. She is working on a world premiere dance theatre piece with original music that is currently in development. Her work has appeared in Theatre Topics, TheatreForum, Theatre Journal, and American Theatre. Orr is a past president of Literary Managers and Dramaturgs of the Americas (LMDA), and serves on its Board of Directors.
Kim Solga is Associate Professor of Theatre Studies in the Department of English and Writing Studies at Western University, Canada, and the Editor in Chief of Theatre Research in Canada/Recherches théâtrales au Canada. Kim’s solo-authored books include Violence Against Women in Early Modern Performance (Palgrave, 2009) and Theatre & Feminism (Palgrave, 2015). Other editing includes special issues of Canadian Theatre Review (on performance and pedagogy, 2011) and Shakespeare Bulletin (with Roberta Barker, on naturalism and early modern performance practice, 2013). With Barker, she also edited the linked volumes New Canadian Realisms: Eight Plays and New Canadian Realisms: New Essays on Canadian Theatre, Volume 2 (Playwrights Canada Press, 2012), the first of which won the Patrick O’Neill prize for achievement in editing. Her latest project, A Cultural History of Theatre: The Modern Age, is forthcoming from Bloomsbury in 2017. Kim blogs about teaching, performance, and activism at http://theactivistclassroom.wordpress.com.
D.J. Hopkins is the Director of the School of Theatre, Television, and Film at San Diego State University. His research interests include the relationship between performance and various forms of social space (including architecture and urban space) and Shakespeare in Performance (including contemporary productions on both stage and screen). His publications have appeared in scholarly journals including Journal of Dramatic Theory and Criticism, Theatre Journal, Theatre Topics, and Shakespeare Survey. He is the author of City / Stage / Globe: Performance and Space in Shakespeare’s London as published by Routledge and the co-editor of the scholarly collections Performance and the City and Performance and the Global City. Hopkins is the 2012 recipient of the Elliott Hayes Award for Achievement in Dramaturgy. He recently served as editor of Theatre Topics. Hopkins holds an MFA and a PhD, both from UC San Diego.
Leadership in Community-Based Theatre and Civic Engagement
Dr. Emma Durden is a specialist in the field of theatre for development, using theatre and participatory methodologies for addressing public health and other social issues. Emma consults to a number of local and international organisations, developing programmes and materials and training and evaluating communication projects. She is a partner in the PST Project, an industrial theatre performance company; and a director of Twist Theatre Development Projects, a non-profit organisation based in KwaZulu-Natal.
Emma has worked in South Africa, Mozambique, Zimbabwe, Thailand and Chile. She has written a number of academic articles published in books and journals, and has developed over 20 training manuals in the field of health and development.
She has also co-authored two books on South African theatre with Roel Twijnstra from Twist Projects: one on theatre directing, and one on theatre production.
ATHE-ASTR Excellence in Digital Theatre and Performance Scholarship
Erin B. Mee is the author of Theatre of Roots: Redirecting the Modern Indian Stage, co-editor of Antigone on the Contemporary World Stage and Modern Asian Theatre and Performance 1900-2000, and editor of DramaContemporary: India. Her articles have appeared in TDR, Theater Journal, Performing Arts Journal, Performance Research, Seagull Theatre Quarterly, American Theatre Magazine, and in numerous books. As a director she has worked at the Public Theater, New York Theatre Workshop, The Guthrie Theater, The Magic Theatre, SoHo Rep, HERE, and with Sopanam in India. She is the founding artistic director of This Is Not A Theatre Company, with whom she has directed Pool Play (in a swimming pool), A Serious Banquet (a participatory dinner party), Readymade Cabaret, Ferry Play (a site-specific smartphone play), and Versailles 2016 (in an actual NYC apartment). She is Assistant Arts Professor of Undergraduate Drama at Tisch School of the Arts, NYU.
A Postcolonial Reading of Lesia Ukraïnka’s Orhiia. Modern Drama (2015) 58.1.
Born in Kyïv, Ukraine, Anastassiya Andrianova received her PhD in Comparative Literature from the Graduate Center of the City University of New York (CUNY), specializing in British literature and philosophy in the long 19th century, from David Hume to Bernard Shaw. She has published on Victorian literature and culture, drama, postcolonial literature, translation, and pedagogy in Modern Drama, Translation and Literature, and other journals, and is currently working on representations of animals in 19th-21st century literature and culture, with a focus on animal consent. Anastassiya has been teaching undergraduate courses in literature and writing since Fall 2004, and is now in the English Department at North Dakota State University in Fargo, ND.
Anthea Kraut is an Associate Professor in the Department of Dance at the University of California, Riverside, where she teaches courses in critical dance studies. Her first book, Choreographing the Folk: The Dance Stagings of Zora Neale Hurston, was published by the University of Minnesota Press in 2008, and received a Special Citation from the Society of Dance History Scholars’ de la Torre Bueno Prize® for distinguished book of dance scholarship. Her second book, Choreographing Copyright: Race, Gender, and Intellectual Property Rights in American Dance, was published in 2015 by Oxford University Press. Her articles have been published or are forthcoming in the edited volumes The Oxford Handbook of Critical Improvisation Studies, The Oxford Handbook of Dance and Reeanctment, The Routledge Dance Studies Reader, and Worlding Dance, and in Theatre Journal, Dance Research Journal, Women & Performance: a journal of feminist theory, The Scholar & Feminist Online, and Theatre Studies.
Oscar Brockett Outstanding Teacher of Theatre in Higher Education
Katherine Lynne Whitlock, 1970-2015
Katherine Lynne Whitlock (Dr. Katie or DK to her students) received her BFA-Theatre at the University of Arizona (Stage Management) and an MFA-Theatre from the University of Memphis (Sound Design). She received her PhD in History, Literature, and Criticism at the Ohio State University in 2004. She began her academic career as an Assistant Professor at the University of Florida in 2005, moving to California State University-Chico in the fall of 2006. She was promoted to Associate Professor of Theatre Design and General Studies in 2010, and was posthumously promoted to Full Professor. Her professional CV runs 15 pages and demonstrates the breadth and depth of her academic and professional accomplishments. Her legendary work ethic and unflagging love of theatre are legible in the text of her life; her pursuit of excellence and her devotion to her students are reflected in their nomination of her for this prestigious award.
Ellen Stewart Career Achievement in Professional Theatre
Harold Prince holds the distinction of earning more Tony Awards than any other living theatre artist, as well as numerous Drama Desk Awards, and the 2000 National Medal of Arts. Prior to beginning his professional life in the theatre, Prince served in the U.S. Army following World War II. In a career spanning more than sixty years, Prince has worked as a director and producer of some of the most well-known and beloved musicals of the twentieth and twenty-first centuries. He earned his first Tony Award in 1955 as producer of The Pajama Game, and continued his success in shows such as Cabaret and Fiddler on the Roof. He went on to collaborate with Stephen Sondheim in a decade long partnership that yielded Company, Follies, A Little Night Music, Sweeney Todd, and Merrily We Roll Along, and with Andrew Lloyd Webber on the smash hits Evita and Phantom of the Opera. Prince’s dedication to innovation and excellence has changed the landscape of contemporary American musical theatre.
Career Achievement in Academic Theatre
Barbara "Bobbi" Korner and Mark Heckler
Mark A. Heckler (B.A., Elizabethtown College, PA; MFA, Catholic University; PhD., University of Colorado) has devoted his 37-year career to leadership and service in higher education, beginning in 1979 as an assistant professor of fine arts at Siena College (NY), moving to the University of Colorado Denver in 1995 as professor of theatre and director of the School of the Arts, later as the founding dean of the College of Arts and Media, followed by appointment as provost. Heckler was elected as the 18th president of Valparaiso University (IN) in 2008. President Heckler has served over 15 years, alongside his colleague and friend Bobbi Korner, as the founding co-director of the ATHE Leadership Institute®. In addition, he has served ATHE continually since its inception as an officer of Theatre Programs of Limited Size, later known as Theatre as a Liberal Art, FORUM Chair, Vice President for Conferences (1991-Seattle), and ATHE president.
Barbara Oliver Korner (BA, MA, PhD), a Distinguished Alumna of Ohio University, is recognized nationally as a mentor in higher education and has served in leadership positions for ATHE, the International Council of Fine Arts Deans, and the Alliance for the Arts in Research Universities. In addition to faculty positions, she has served as: chief of staff for the chancellor, University of Missouri-Columbia; dean of Fine and Performing Arts, Seattle Pacific University; associate dean of Fine Arts, University of Florida; and, since 2007, dean of Penn State’s College of Arts and Architecture. Co-editor with Carla Waal of Hardship and Hope, she maintains her work as an author and performer of women’s history programs including performances of ethnic women’s writings. With her friend and colleague Mark Heckler, in 2000, she co-founded the ATHE Leadership Institute® and considers their work alongside other theatre chairs and deans a labor of love for the profession and for ATHE.