Resume

_____________________________________________________________________________________

Sharon Marie Carnicke

Professor, Theatre and Slavic

University of Southern California
School of Theatre, Drama Center
Los Angeles, California 90089-0791
(213) 740-2202
carnicke@usc.edu

ACADEMIC DEGREES

Ph.D., Russian/Theatre Arts, Columbia University, 1979
M. Phil., Russian/Theatre Arts, Columbia University, 1977
M.A., Russian/Theatre Arts, New York University, 1973

A.B., Russian Literature, Barnard College, 1971

Certificate, Russian Language, Moscow University, 1970
Fields of Expertise:

Russian/Comparative Dramatic Literature; World Theatre History; Literary/Dramatic Theory; Acting Theory and Stanislavsky; Acting on Film; Performance Studies and Dance; General Education

 

AWARDS:

University of Southern California

USC Associates Award for Excellence in Teaching, 2003
Grant to co-produce with the USC Thornton School of Music the ballet "Les Noces", music by Stravinsky and original choreography by Nijinska, Arts Initiative Grant, 2000-2002.
Grant to develop the interdisciplinary course, "Ballets Russes as a Crossroads of the Arts," Fund for Innovative Undergraduate Teaching, 1999.
Center for Excellence in Teaching, Faculty Fellow, 1997-2000
Outstanding Non-Resident Faculty Fellow, 1991-1992

TEACHING EXPERIENCE:

University of Southern California, School of Theatre (1987-present)

Professor, Theatre and Slavic Languages and Literatures (2000-present)

Associate Professor (1993-1999)

Assistant Professor (1987- 1992)

Undergraduate Courses: 100xg: Introduction to Theatre (A General Education Course), 125: Text Studies for Production, 301: Greek and Roman Drama (until 1995 taught as 213, a General Education Course), 302: Medieval Drama and Shakespeare, 303: The Performing Arts (newly developed in 1998), 312/313: Dramatic Literature from the 16th to the 19th Century, 314/412: Modern Drama, 404: Acting Theory (newly developed in 1998), 499: The Ballets Russes as a Crossroad of the Arts
Graduate Seminars: 525: Contemporary Drama and Theatre, 528: Dramatic Analysis, 535: Theatre Aesthetics
Directed Research Advisor for Undergraduate and Graduate Students
Ph.D. qualifying and dissertation committees in the Departments of German, Comparative Literature, Art History, Slavic, and Critical Studies in the School of Cinema and Television
External Examiner for Ph.D. Candidates at University of New South Wales, Australia, and University of Helsinki
External Examiner for MA in Dance, California State University, Long Beach.
University of Southern California, Center for Excellence in Teaching (1997-2000)

Development and Teaching of the Faculty Workshop, "Performing Techniques for the Lecture Hall," using theatre techniques to improve teaching
Workshop leader for Teaching Assistant Training, Teaching Large Classes, New Faculty Orientation, and Interviewing as Future Faculty
A/ACT, 1992-present

A Professional Acting Class for an actors' support group in Hollywood. I teach on a volunteer basis as a community service.
New York University, Department of English (1984-1987)

Adjunct Assistant Professor (1984-1986)

Visiting Assistant Professor (1986-1987)

Medieval and Renaissance Drama, Shakespeare, Modern British Drama, Literary Interpretation, World Drama
School of Visual Arts, Communication Arts (1980-1983)

Adjunct Assistant Professor

Humanities Core Curriculum: The Twentieth Century (A colloquium, team-taught by myself and a philosopher)
Columbia University, Department of Slavic (1978-1981)

Adjunct Instructor

Literature Humanities (Core Curriculum), The Moscow Art Theatre, Chekhov, Nineteenth Century Russian Literature
New School for Social Research (1979-1980)

Adjunct Assistant Professor

The Plays of Chekhov, The Development of Russian Drama
92nd Street YM-YWHA (1979-1980)

Adjunct Instructor

Great Books in World Literature

RELATED EXPERIENCE:

Selected as Judge for Playwriting, Acting, and Production Awards (1998-1999)

Theatre Americana (the oldest community theatre in the US exclusively dedicated to producing new plays), Altadena

Publications Referee

Harwood Academic Publishers (1997-present)

Evaluator of Russian Language Manuscripts on Russian Theatre

Slavic and East European Journal (1995-present)

Evaluator of articles on Chekhov and Drama

Publications of the Modern Language Association (1996)

Evaluator for articles on Russian Drama

Mayfield Press, acknowledged in Robert Cohen, Theatre, Third Edition, 1994.

National Endowment for the Humanities (1993-present)

Evaluator of Russian Research Grants

American Council of Teachers of Russian (1993-1997)

Field Representative: Evaluator of Grant Proposals from the CIS for Research Study in the US

National Endowment for the Arts (1984-1995)

Evaluator of Russian Language Literary Journals and Books published in the United States

American/Soviet Youth Forum (1973-1974)

Interpreter (Russian/English) at meetings in the US, Russia, and Azerbaijan

RESEARCH FUNDING

Center for Excellence on Teaching, University of Southern California, 1997-2000

Research Award used to study the town festivals of Puerto Rico as performance events
Research Award used to travel to the World Conference on Carnival
Zumberge Faculty Research and Innovation Fund, University of Southern California, 1996-1997

To study the town festivals of Loíza, Hatillo, and Juana Diaz (Puerto Rico) as performance events
International Research and Exchange Board, June 1996

Travel Grant to speak at the Anna Akhmatova Museum, St. Petersburg, Russia
University of Southern California, Sabbatical Grant, 1994

International Research and Exchange Board, US/USSR Commission on Theatre and Dance Studies, December 1988

Grant to work with Russian colleagues on research relating to Stanislavsky's tours to the US
American Council of Learned Societies, Senior Fellowship, 1988-1989

Support for research on Stanislavsky in the US
Rockefeller Resident Fellowship, Wisconsin Center for Film and Theatre Research, January-June 1988

To study sound recordings of Lee Strasberg's sessions at the Actors Studio
L'Institut d'études slaves, La Sorbonne, 1979

Grant to present a paper at La Sorbonne, Paris
The Mogilat-Mihaly Travelling Fellowship, 1978

For study of theatre in Moscow, Leningrad, Kiev, and Tblisi
Columbia University President's Fellowship, 1974-1975

Dissertation support
NDFL Fellowship, 1973-1974

For graduate study

 

PUBLICATIONS AND CREATIVE WORK

Awards:

Honorable Mention, Phi Kappa Phi Faculty Recognition Award, University of Southern California, for Stanislavsky in Focus, 1999.

Nomination for the Barbara Held Award, for authorship of Stanislavsky in Focus, 1999.

Nomination for the Joe A. Calloway Award in Theatre Studies, Stanislavsky in Focus, 1999.

Meritorious Achievement Award, American College Theatre Festival, Kennedy Center, for translation of Chekhov's The Seagull (see below), 1997.

Nomination for the George Freedley Memorial Award, for authorship of The Theatrical Instinct (see below), 1990.

Books:

Stanislavsky in Focus. London: Harwood Academic Publishers, 1998.

Russian Theatre Archive, Editor: "A ground breaking study, which will, or at least should, change Stanislavsky scholarship."
Honorable Mention, Phi Kappa Phi Faculty Recognition Award, University of Southern California, 1999.

Nomination for the Barbara Held Award and the Joe A. Calloway Award, 1999.

Three excerpts from this book have been translated into Russian; two have been published in the journal Dom akterov, ed. Olga Galakhova, Moscow; one is forthcoming in the journal Kultura, Moscow.

The Theatrical Instinct: Nikolai Evreinov and the Russian Theatre of the Early Twentieth Century. New York/Bern: Peter Lang Publishing, 1989.

Nominated for the George Freedley Memorial Award, Theatre Library Association
"Carnicke's book is a landmark." Canadian Slavonic Papers.
General Editor, The Collected Works of Konstantin Stanislavsky in Ten Volumes. New York: Routledge, in progress.

This project publishes the first unabridged English translations of Stanislavsky's key books on acting, and materials never before published in the West.
Co-Author with Maria Ignatieva (Ohio State University), Stanislavsky's Era and Female Creativity (under submission).

Co-Author with Cynthia Baron (Bowling Green State University), Reading Screen Performances (under submission).

Articles in Books and Refereed Journals:

"Evreinov and the Paradox of the Marionette" in Keith Tribble, ed. The Marionette in Symbolist Literature. New York: Mellen, forthcoming.

"Stanislavsky’s Eastern Self," in Teatr, Los Angeles, 2000.

"Lee Strasberg's Paradox of the Actor," in Peter Kramer and Alan Lovell, ed. Screen Acting. London: Routledge, 1999.

"Stanislavsky's System: Pathways for the Actor," in Alison Hodge, ed. Twentieth Century Actor Training. London: Routledge, forthcoming 1999.

"Stanislavsky's Production of The Cherry Orchard in the US: Interpretation and Reception Interact," in J. Douglas Clayton, ed. Chekhov: Then and Now. New York: Peter Lang, 1997, 19-30.

Carnicke takes "a sobering look at how popular taste shapes art." North American Chekhov Society.
"Stanislavsky: Unabridged and Uncensored." The Drama Review, XXXVII:1 (T 137, 1993), 22-42. Invited by editor Richard Schechner to contribute this article.

"Boleslavsky in America," in Laurence Senelick, ed. Wandering Stars: Papers on Russian Emigré Theatre from 1900-1940. Iowa City: University of Iowa Press, 1992, 116-128.

"Stalinslavsky: Stanislavsky's Final Years." Theatre Three, Carnegie Mellon Drama, X/XI (Spring/Fall 1991), 150-163.

"La Tradition orale de Stanislavski." Le Siècle Stanislavski. Paris: Bouffoneries, 1989, 96-97.

"An Actor Prepares/Rabota aktera nad soboi: A Comparison of the English with the Russian Stanislavsky." Theatre Journal, The Johns Hopkins University Press, XXXVI:4 (December 1984), 481-494.

"L'Instinct théâtral: Evreinov et la théâtralité." Revue des études slaves, Paris, LIII:1 (1981), 97-108.

"Naturalism to Theatricalism: The Role of the Symbolists." Ulbandus, I:1 (1978), 41-58.

Other Articles:

"Spicing Up Large Classes." Co-author with Erwin Chemirinsky, USC Academic Senate Newsletter, 1999.

"The Theatrical Faith of Oleg Yefremov." By Mikhail Shvydkoi. Trans. by S. M. Carnicke. Moscow Art Theatre: Past, Present, Future. Louisville: Actors Theatre of Louisville, 1989, 64-67.

"The Women's Studies Program." College Newsletter, published by Washington Square and University College at New York University, IX (Spring 1986), 11.

"The Liberal Education Program." College Newsletter, published by Washington Square and University College at New York University, XVII (Spring 1985), 6-7; 14-15.

Produced Translations from the Russian:

The Seagull (Chekhov). Commissioned by University of Evansville, Indiana, for production in September 1996. Meritorious Achievement Award in Translation, American College Theatre Festival, 1997.

Thirty-Three Faintings (Chekhov/Carnicke). Produced by A/ACT, Los Angeles, 1995.

The Russian Teacher (Buravsky). Read at the Felton Perry Workshop, Los Angeles, and at University of Southern California, 1989.

Three Sisters (Chekhov). Produced by Lion Theatre Company (Theatre Row), New York City, 1979; Mills College, California, 1980; Virginia Commonwealth University, Richmond, 1986; Oberlin College, Ohio, 1989; University of Evansville, Indiana, 1989; University of Southern California, 1993.

The Cherry Orchard (Chekhov). Produced by New York University, Tisch School of the Arts, 1980; Theatre in Action, New York City, 1987; Northern Kentucky University, 1990; University of Southern California, Bing Theatre, 1990 and Massman Theatre, 1995.

Blackforest (Carnicke/Lanskoy). Adaptation of a novel by Vasiliev. Produced by Shelter West, New York City, 1980; new version by Carnicke produced at the University of Miami, 1985.

A Week Like Any Other (Baranskaya). Adaptation of Soviet woman's diary. Produced by Eccentric Circles Theatre, New York and New Jersey, 1980.

The Storm (Ostrovsky). New translation and adaptation. Produced by the University of Southern California, 1989; Staged Reading by ANTA-West, Burbank, 1990. First version produced by Neighborhood Playhouse, New York City, 1979.

Crime and Punishment (Dostoevsky). Stage adaptation by Lev Vainshtein. Produced by Potter's Field Company, Michael Moriarty, New York City, 1980.

The Anniversary and The Proposal (Chekhov). Produced by Theatre Uptown, Columbia University, 1976 and 1978. Also performed at Green Haven Prison, New York State, 1978.

Papers, Invited Talks, and Unpublished Manuscripts:

"Roundtable on Film Acting: Reading Performances in Wayne Wang’s Smoke." Society for Cinema Studies, Chicago, forthcoming 1999.

"The Russian Actress: From Plaything to Player," Chair. International Council for Central and East European Studies, World Conference, Tampere (Finland), forthcoming 2000.

"Workshop: Teaching Cross Cultural Analysis of Film Performance," Participant. Society for Cinema Studies, West Palm Beach, March 1999.

"The Paradox of Film Acting: Three Hamlets, Three Gertrudes." Barnard College Club, Los Angeles, October 1998.

"Performing Roles in the Town Festivals of Loíza, Hatillo, and Juana Díaz, Puerto Rico." World Conference on Carnival, Trinity College, Hartford, September 1998.

"MGM Encounters the Russian Revolution: The Case Against Boleslavsky's Rasputin and the Empress." American Association of Slavic Studies, Boca Raton, September 1998.

"Workshop: Approaches to Film Acting," Participant. Society for Cinema Studies, San Diego, April 1998.

"Theorizing Gender in Russian Drama and Theatre." American Association of Slavic Studies, Discussant, Seattle, November 1997.

"The Actor's Choice: Performing Hamlet on Film." Society for Cinema Studies, Ottawa, May 1997.

"The Life of the Human Spirit: Stanislavsky's Eastern Self." American Society for Theatre Research, Pasadena, November 1996.

"The Women In and Behind Stanislavsky's Books." American Association of Slavic Studies, Boston, November 1996.

"Evreinov as Puppeteer." Anna Akhmatova Museum, St. Petersburg, Russia, June 1996.

"Screening Women," Chair. Conference on Thinking Gender, UCLA, Los Angeles, February 1996.

"Lee Strasberg's Paradox of the Actor." Society for Cinema Studies, Dallas, March 1995.

"Stanislavsky's Last Heritage: Active Analysis." American Society for Theatre Research, St. Louis, November 1995.

"Stanislavsky's Production of The Cherry Orchard in the US: Interpretation and Reception Interact." International Symposium on the Reception of Chekhov in World Culture, University of Ottawa, May 1994.

"Stalin-slavsky: The Last Years of Konstantin Stanislavsky." Joe E. Callaway Lecture Series, Department of English and Dramatic Literature, New York University, February 1992.

"Stanislavsky in the West." Penn State University, a series of three lectures sponsored by the Departments of Theatre Arts, Slavic, English and Comparative Literature and the Institute for the Arts and Humanities Studies, November 1991.

"Richard Boleslavsky in America." Invited paper for joint US/USSR conference on Russian emigré drama, sponsored by IREX, Harvard University, Boston, February 1991.

"Igrat' ili deistvovat' (To Act or to Behave): Evreinov Confronts Stanislavsky." Invited paper for American Association for the Advancement of Slavic Studies (AAASS) Conference, Miami, November 1991.

"Stanislavsky at the Moscow Art Theatre from 1970 to 1990." Invited paper for panel on "Stanislavsky's Influence in Russia, 1920-1990," Association for Theatre in Higher Education (ATHE), Seattle, August 1991.

"The Impact of Russian Drama on the American Theatre." US/Soviet Relations Group, Pasadena, California, March 1990; Spark, Women's Organization of Orange County, January 1991.

"Russian Theatre and Revolutionary Change." Public lecture at Northern Kentucky University, sponsored by the Kentucky Council on the Humanities, November 1990.

"Scientific Discovery and Artistic Experiment." Panel Discussant, "The Russian Avant-Garde." Conference sponsored by NEH, University of Southern California, Slavic Languages and Literatures, November 1990.

"Stanislavsky in the West: The English Language Curtain." Keynote Speaker for an international symposium on Stanislavsky's terminology, Moscow Art Theatre, May 1990.

"Soviet Design for Theatre: Past and Future." Panelist at a public symposium, University of California at Los Angeles, School of the Arts, April 1990.

"The Russian Theatrical Tradition." Chair and Discussant, American Association of Teachers of Slavic and East European Languages (AATSEEL) Conference, Washington D.C., December 1989.

"The Interplay of Oral Transmission and Written Translation: Stanislavsky." By invitation, AATSEEL Conference, Washington D.C., December 1989.

"Stanislavsky's Impact on the US." Resident Scholar at the Actors' Theatre of Louisville, Festival of Russian Plays in Context, by invitation, October 1989. I gave 10 talks to various university and community groups, as well as a formal presentation at the theatre. I also participated in workshops for the "Artists in the Workplace" series. Sponsored by NEH.

"To Dream or Not to Dream: The Importance of Imagination for the Actor." Speaker/Demonstration for the California Educational Theatre Association (CETA) Conference, San Jose, March 1989.

"The Transformation of Stanislavsky's Ideas in the United States." Speaker by invitation, Stanislavsky in a Changing World, opening of the International Stanislavsky Center, Moscow, February-March 1989.

"The Group Theatre" and "Stanislavsky's System for the Actor." Speaker by invitation, Le Siècle Stanislavski, an International Symposium, Centre Georges Pompidou, Paris, November 1988.

"Russian and Soviet Translation." Moderator, American Literary Translators Association Convention, New York, October 1988.

"Translating Stanislavsky." By invitation of Cynthia Simmons, Department of Slavic Languages and Literatures, University of Wisconsin, Madison, May 1988.

"Lee Strasberg and Film Acting in the United States." Faculty Colloquium on Film chaired by David Bordwell, Wisconsin Center for Film and Theatre Research, University of Wisconsin, Madison, April 1988.

"The Genealogy of Emotional Memory." By invitation of Philip Zarilli, Department of Theatre Arts, University of Wisconsin, Madison, February 1988.

"Stanislavsky's Unfinished Book." AATSEEL Conference, San Francisco, December 1987.

"Bakhtin and the West." Panel Chair and Discussant, AATSEEL Conference, San Francisco, December 1987.

"Mostly Salieri: A Comparison of Pushkin's Salieri with Shaffer's." AATSEEL Conference, Chicago, December 1985.

"Movement for the Actor: An Exploration of Stanislavsky's Approach to Stage Movement." Presentation with Edward Rozinsky of the Leningrad Theatrical Institute, American Theater Association (ATA), Toronto, August 1985.

"Conventional Women in an Unconventional World: Zamyatin's We." AATSEEL Conference, New York, December 1983.

"Passive Action as an Manipulative Technique in Chekhov's The Cherry Orchard." AATSEEL Conference, Houston, December 1980.

"Politics and the Drama." Chair and Discussant, Conference of the American Association of Slavic Studies (AAASS), New Haven, November 1979.

"The Theatrical Instinct: Evreinov and Theatricality." Invited speaker for the Centennial Celebration of the work of Nikolai Evreinov, L'Institut d'études slaves, La Sorbonne, Paris, October 1979.

"Chekhov: A Case Study in Dramatic Translation." Guest Lecturer for Barbara S. Miller, Professor of Oriental Studies, Barnard College, Spring 1979.

"The Moscow Art Theatre Today." Amy's Circle, New York City, February 1977.

Book Reviews:

Ben Brewster and Lea Jacobs. Theatre to Cinema in Film Quarterly, LIII: 7, forthcoming.

Laurence Senelick. The Chekhov Theatre in Slavic and East European Journal, XLII: 4 (Winter 1998).

Natalia Kuziakina. Theatre in the Solovki Prison Camp in Comparative Drama, XXXI:4 (Winter 1997-1998).

Edward Braun. Meyerhold: A Revolution in the Theatre in Modern Drama, XXXIX:2 (Summer 1996).

Gordon McVay, Chekhov's Three Sisters and Donald Rayfield, Chekhov's Uncle Vanya and The Wood Demon in Slavic and East European Journal, XL:1 (Spring 1996).

J. Douglas Clayton, Pierrot in Petrograd: The Commedia dell'Arte/Balagan in Twentieth-Century Russian Theatre and Drama in The Russian Review, LIV:3 (July 1995).

Liisa Byckling, Pis'ma Mikhaila Chekhova Mstislavu Dobuzhinskomu (gody emigratsii, 1938-1951) in The Slavic and East European Journal, XXXVIII:4 (Winter 1994).

Catriona Kelly, Petrushka: The Russian Carnival Puppet Theatre and Andrew Barratt, ed., Russian Theatre in the Age of Modernism in Slavic Review, LI:1 (1992).

Benjamin Bennett, Theater as Problem in Modern Drama, XXXIV:4 (1991).

Nick Worrall, Modernism to Realism on the Soviet Stage: Tairov, Vakhtangov, Okhlopkov in Slavic Review, L:2 (1991).

Jean Benedetti, Stanislavski: A Biography in Theatre Journal, March 1990.

Carolina de Maegd Soëp, Chekhov and Women in The Russian Review, XLVIII:1 (1989).

Joyce Vining Morgan, Stanislavski's Encounter with Shakespeare: The Evolution of a Method in The Slavic and East European Journal, XXIX:4 (1985).

Spencer Golub, Evreinov: The Theatre of Paradox and Transformation in Slavic and East European Journal, XXIX:3 (1985).

Victor Emeljanow, ed. Chekhov: The Critical Heritage and Jean-Pierre Baricelli, ed., Chekhov's Great Plays: A Critical Anthology in Theatre Journal (1982).

Laurence Senelick, tr. and ed., Russian Dramatic Theory from Pushkin to the Symbolists in Slavic and East European Journal, XXVI:3 (1982).

Citations:

On Works about Stanislavsky:

Kaplan, David. Five Approaches to Acting. New York: West Broadway Press, 2000. Incorporates the terminology and theories from Stanislavsky in Focus.

Baron, Cynthia A. Before Brando: Film Acting in the Hollywood Studio System. (forthcoming).

Freedman, John. The Moscow Times, October 13, 1998.

Zarilli, Phillip B., ed. Acting (Re)Considered. New York: Routledge, 1995.

Hornby, Richard, The End of Acting. New York: Applause Books, 1992.

Smelianskii, Anatolii, "Professiia, artist," in K. S. Stanislavskii: Sobranie sochinenii, Vol. II: Rabota aktera nad soboi. Moscow: Iskusstvo, 1989.

Carnicke is the only US and English language scholar cited in this major new Soviet edition of Stanislavsky's complete works.

Benedetti, Jean, "Stanislavski Trahi," Acteurs, Paris (June 1989).

Benedetti, Jean, "A History of Stanislavski in Translation," New Theatre Quarterly (May 1990).

Benedetti, Jean, Stanislavski: A Biography. New York: Routledge, 1990.

Kurten, Martin (Finland), "Le Lexique stanislavskien," Le Siècle Stanislavski, An International Symposium, Paris: Centre Georges Pompidou, November 1988.

Hobgood, Burnet M., "Stanislavski's Books, an Untold Story," Theatre Survey, XXVII:1-2 (1986), 155-165.

Carpenter, C.A., "Modern Drama Studies: An Annual Bibliography," Modern Drama, XXIX:2 (1986), 241-353.

On Works about Nikolai Evreinov:

Moeller-Sally, Betsy F. "The Theater as Will and Representation: Artist and Audience in Russian Modernist Theater, 1904-1909," Slavic Review, LVII:2 (1998), 350-371.

Clayton, J. Douglas, Pierrot in Petrograd: The Commedia dell'Arte/Balagan in Twentieth-Century Russian Theatre and Drama. Montreal: McGill-Queen's Press, 1993.

Segal, Harold, Twentieth Century Russian Drama from Gorky to the Present. Baltimore: Johns Hopkins University Press, 1993.

Féral, Josette, "La Théâtralité: Recherche sur la spécificité du langage théâtral," Poetique, Paris (1988), 347.

Pradier, J.M., "The Public and its Body: On some Basic Paradoxes of Theatrical Communication," Degrès: Revue de synthèse à orientation semiologique, Paris, LVI:B1-B20 (1988), 97.

Pearson, Tony, "Evreinov and Pirandello, Twin Apostles of Theatricality," Theatre Research International, XII:2 (1987), 147-167.

Golub, Spencer, Evreinov: The Theatre of Paradox and Transformation, Ann Arbor: UMI Research Press, 1984.

Abensour, Gérard, "La Comédie du bonheur," Revue des études slaves, Paris, LIII:1 (December 1984), 115-132.

On Work about Zamyatin:

Cooke, L. B., "The Manuscript in Zamyatin's We," Russian Literature, XVII:4 (1985), 367-388.

On Blackforest, adaptation for the stage and translation of Boris Vasiliev's The Dawns are Quiet Here:

Law, Alma H. and Goslett, C. Peter, eds. Soviet Plays in Translation: An Annotated Bibliography. New York: CASTA/CUNY Graduate Center, 1980.

DIRECTING EXPERIENCE

Thirty-Three Faintings (Chekhov). A/ACT, Los Angeles, April/May 1995.

Kto zakazyval taksi? (Who Ordered the Taxi?, Arkanov). University of Southern California, produced jointly by the School of Theatre and the Department of Slavic Languages and Literatures, performed in Russian, November 1991.

The American Clock (Miller). University of Southern California, School of Theatre, October 1990.

The Russian Teacher (Buravsky). The Studio-Theatre, Art Center, founded by actors of The Moscow Art Theatre, Moscow, 1989.

Love and Come Into the Kitchen (Petrushevskaya). The US Premiere of this leading Soviet playwright. Eccentric Circles Theatre, New York, 1982.

Cabin Fever (Naylor). American Theatre for Actors, New York, 1980; Mid-Hudson Arts and Science Center, Poughkeepsie, 1980.

Blackforest (Carnicke/Lanskoy). Assistant to Evgeny Lanskoy of Stella Adler's Studio, Shelter West Company, New York, 1980.

The Seagull (Chekhov). Assistant and Interpreter to Sam Tsikhotsky of the Moscow Art Theatre, guest director at the Actors Studio, New York, 1978.

Sooner or Later (Naylor). Theatre Uptown, Columbia University (Producer, Potato Players), New York, 1977, and Rhinebeck, New York, 1978.

Tom Thumb (Fielding). Choreography, Teachers' College, Columbia University (Producer, Potato Players), New York, 1977.

A Merry Death (Evreinov). Theatre Uptown, Columbia University (Producer, Potato Players), New York, 1976.

The Locked Room (Naylor). Samuel French Original Playwrights' Festival, Lincoln Center, New York, 1976.

The Anniversary (Chekhov). Barnard College Arts' Festival, Performed in Russian, New York, 1971.

ADMINISTRATION

Associate Dean, School of Theatre (1994-present)

University of Southern California

In charge of Faculty and Curriculum, Area Head for Dramatic Literature and Theatre History, and Member of the Dean's Budget Committee
Assistant Dean for Curriculum (1984-1986)

New York University, Washington Square and University College
In charge of the Liberal Education Program, the College Curriculum Committee, curriculum development, and the implementation and administration of NEH and Exxon curricular grants. While in this administrative position, I taught as an adjunct assistant professor in the Department of English. (See above.)
Coordinator, Humanities and Contemporary Civilization (1978-1983)

Columbia University

Administered staffing, budget, faculty meetings, and evaluation of the College's core curriculum. I taught in the program as an adjunct while serving as coordinator. (See above.)
Curriculum Consultant

School of Visual Arts (1980-1983): Wrote and implemented a team-taught Freshman Core Curriculum for Communication Arts.
Barnard College (1983): Consulted on the development of the Freshman Seminar Program.
Committees:

University of Southern California

UCAR, University Committee on Academic Review, 1999-2000

Subcommitte Chair for the Annenberg School of Communications
CUE, Committee on Undergraduate Education, Academic Senate, 1999-2000

Task Force on Undergraduate Research, 1998-present

Academic Senate, White Paper on Undergraduate Education, 1998

COUPLING Committee to review minors, 1994-1998

Chair, Sub-Committee of COUPLING, 1997-1998
Task Force on Internships, 1995-1996

Graduate and Professional Studies Committee, 1993-1996

General Education Committee, 1989-1996

Academic Integrity, 1990-1995

Undergraduate Studies Committee, 1991-1993

PROFESSIONAL ORGANIZATIONS

Modern Language Association; American Society for Theatre Research; Association for Theatre in Higher Education; Dramatists' Guild; American Association of Teachers of Slavic and East European Languages; American Association of Slavic Studies; American Literary Translators' Association, Society for Cinema Studies.