In lieu of an abstract, here is a brief excerpt of the content:

  • Announcements
  • Richard Schechner and Mariellen R. Sandford

Sara Brady Returns to TDR

Here’s some good news. Sara Brady is returning to TDR as Managing Editor. From 1997–2000, while earning her PhD in Performance Studies at NYU, Sara was Assistant Editor and then Managing Editor of TDR. For many years Associate Editor Mariellen Sandford has trained graduate students as they learned the TDR ropes. But new financial restraints resulting from the establishment of a graduate student union at NYU means that TDR can no longer employ two or three student editors. Going forward, TDR will have a permanent, professional Managing Editor and one student Assistant Editor. Our twin goals are to maintain TDR’s professional standards and fulfill our pedagogical commitment to training students.

Sara’s deep experience as an editor after her first stint at TDR—including as Media Editor of my Performance Studies: An Introduction—augurs well for TDR. Sara is Assistant Professor in the Department of Communication Arts and Sciences, and Curriculum Coordinator for the Performing Arts option at Bronx Community College of the City University of New York. She has also taught at the CUNY Graduate Center, Trinity College Dublin, University College Dublin, and Montclair State University. Her book Performance, Politics, and the War on Terror: “Whatever It Takes” was published by Palgrave in 2012. Her current book projects include Performance in a Militarized Culture with coeditor Lindsey Mantoan (Routledge, 2017) and a monograph, Money—Power—Performance. She has written for TDR, American Theatre, New Hibernia Review, and other journals. Her most recent essay, “God, the Pilot, and the Bugsplat: Performance and the Drone Effect” (2015) is in Behemoth. She is coeditor with Henry Bial of The Performance Studies Reader and Producing Director of Footlights of Martinsville, a New Jersey youth theatre company. Sara, her husband Kevin, and their two children Finn and Maeve, live in Montclair, NJ, where she’s a member of the Montclair Township Arts Advisory Committee.

— Richard Schechner

Thank You Rabih, and Welcome taisha

After four years as the rotating Provocation Section Coeditor, Rabih Mroué will now occupy just one line on the TDR masthead—as a Contributing Editor. Thanks Rabih for bringing such brilliant artists to TDR.

Provocation Section Coeditor Julie Tolentino will be joined by taisha paggett, a dance artist featured on the Provocation pages in T224, Winter 2014. taisha paggett is a Southern California–based queer Black artist whose individual and collaborative works for the stage, gallery, and public spaces take up questions of the body, agency, and the phenomenology of race. In her own words, paggett’s work seeks to “de-center and reframe certain Western choreographic conventions and the ways in which bodies and spaces become normalized in both dance practices and the actions of daily life, by colliding them with socio-political metaphors and meaning.” paggett has presented her work at Danspace (New York), Defibrillator (Chicago), Commonwealth & Council (Los Angeles), LACE (Los Angeles), the Whitney Museum (NYC), [End Page 8] the Doris McCarthy Gallery (Toronto), The Studio Museum in Harlem, and Diverseworks (Houston), among other sites. As a dancer, paggett currently works with Every house has a door, Meg Wolfe, and with Ashley Hunt through their ongoing collaborative project, On Movement, Thought and Politics. paggett teaches in the Dance department at UC Riverside, holds an MFA from UCLA’s World Arts and Cultures/Dance program, and was a coinstigator of the LA-based dance journal project and discursive platform, itch.

— Mariellen R. Sandford



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