While I can’t imagine solely being a working actor, I love to perform. (Whether or not I’m actually good at it is a different matter. I’m not fishing for compliments. These matters are highly relative.) It’s not a surprise that, in all of the many forms applied theatre has to offer, I gravitated towards process drama the most during my master’s. It was the ideal intersection of my academic interests (i.e., education), personal values (i.e., participant-centeredness), and artistic passions (i.e., acting). Having said that, I was and am delighted that during my time in New York University (NYU), I am able to explore other ways of performing, such as devised theatre and verbatim performance.

In the spirit of praxis, the work I do as an actor is indivisible from the work I do as an academic. I have noted that the more deeply I get to reflect on theory, the more grounded my performances become—and vice versa; they inform one another. The two performances I feature in this section represent this. Included are Hear Them Roar: The Fight for Women’s Rights, a devised performance produced by NYU Steinhardt under the direction of Nan Smithner, and Nobody, but (no)body, a piece of ethnotheatre that began in Joe Salvatore’s Ethnoacting course and was further developed in NYU’s Verbatim Performance Lab.

Hear Them Roar: The Fight for Women’s Rights

“Nobody, but (no)body”