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ERIN B. MEE
EDUCATION:
2004
Ph.D. in Performance Studies. New York University.
Dissertation: De-Colonizing Modern Indian Theatre: The Theatre of Roots.
Advisor: Richard Schechner.
Areas: Directors on Actor Training; Theories of Spectatorship: The Act of Seeing;
Reconfiguring Tradition in Modern Indian Theatre, 1947-1997
1996
MA in Performance Studies. New York University.
1985
AB in English and American Literature. Harvard College. Concentration in creative writing.
TEACHING EXPERIENCE:
2011-present Assistant Professor/Faculty Fellow, New York University. Department of English Literature, Program in
Dramatic Literature.
2003-2011
Assistant Professor, Department of Theatre, Swarthmore College. Acting Chair 2008-2009.
1999-2003
Visiting Assistant Professor, Department of Theatre, Bard College.
1998-99
Visiting Assistant Professor, Department of Drama, Vassar College.
1995-99
Adjunct Instructor, Undergraduate Drama, NYU. “Theatre in Asia: Indian Performance” and “The Actor’s
Craft.”
1994-98
Adjunct Instructor, Department of Drama, Vassar College. “The Actor’s Craft.”
1997
Adjunct Instructor, Continuing Studies Program, Bard College. “Twentieth-CenturyTheatre.”
1995
Adjunct Instructor, Bard College. First-Year Seminar, "Modernism."
1992-94
Visiting Assistant Professor of Drama, Bard College. Introduction to Acting.
1991
Scene Work, Text Analysis, Shakespeare, Colorado College.
1989
Text Analysis, Graduate Acting Seminar, The University of Minnesota.
1988
Theatre Games, Scene Work, Chekhov, Colorado College.
PUBLICATIONS:
Books:
2014
Co-editor (with Kevin Wetmore and Siyuan Liu) Modern Asian Theatre and Performance 1900-2000.
Methuen.
2011
Co-Editor (with Helene Foley, Classics, Barnard) Antigone on the Contemporary World Stage. Oxford
University Press. June 2011.
2009
Theatre of Roots: Redirecting The Modern Indian Stage. Seagull Books, Kolkata and Palgrave-MacMillan.
Part of series titled Enactments, edited by Richard Schechner.
2001
Editor, DramaContemporary: India, a collection of contemporary plays from India with an introduction.
Johns Hopkins University Press. Printed in India by Oxford University Press, 2002.
Articles:
2014
“Rasa Is/As/And Emotional Contagion” In Natyasastra: Aesthetics, Epistemology & Performance Practice,
edited by Sreenath Nair. McFarland Press.
2014
“Standing Man and the Impromptu Performance of Hope” TDR 58:3 (223). Fall.
2014
Article on Naomi Wallace in The Theatre of Naomi Wallace: Embodied Dialogues, edited by Scott
Cummings. Palgrave MacMillan.
2014
Editor of India entries (and author of many of the entries) for: Cambridge Encyclopedia of Stage Actors
and Acting. General Editor: Simon Williams. Cambridge University Press.
2013
“Hearing the ‘Music of the Hemispheres,’” a born-digital multimodal composition-article about
“neuroperformance” for TDR 57:3, T219. Fall.
2013
“Women Directors in India.” In International Women Stage Directors, edited by Anne Fliotsos and Wendy
Vierow.
2012
“The Cultural Intifada: Palestinian Theatre in the West Bank.” TDR 56:3 (T215). Fall 2012.
2012
“The Freedom Theatre: Creation Under Occupation,” with Naomi Wallace and Ismail Khalidi. American
Theater magazine. February issue. Part I of a two-part article.
2012
Article on The Freedom Theatre’s production While Waiting http://theatermagazine.yale.edu/waitingfreedom. January 2012.
2011
“Comment: Juliano Mer Khamis: Murder, Theatre, Freedom, Going Forward.” TDR 55:3 (T211). Fall.
2010
“But is it Theatre? Colonial Culture‘s Impact on Theatrical History in India.” In Theatre History: Critical
Questions, edited by Henry Bial and Scott Magelssen. University of Michigan Press.
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2010
2007
2007
2005
2002
2000
1997
1997
1997
1995
1995
Reviews:
2011
2010
2007
2006
2006
2005
2005
“Classics, Cultural Politics, and the Role of Antigone in Manipur, NE India.” In India, Greece, and Rome
1757-2007 edited by Edith Hall and Phiroze Vasunia. London: Institute of Classical Studies, University of
London.
“Mahesh Dattani: Invisible Issues.” In Mahesh Dattani’s Plays: Critical Perspectives, ed. Angelie Multani.
New Delhi: Pencraft International.
Editor, India section, Columbia Encyclopedia of World Drama, ed. Gabrielle Cody and Evert Sprinchorn.
Columbia University Press. Also author of general entry on Indian theatre, as well as entries on Kavalam
Narayana Panikkar, Girish Karnad, Ratan Thiyam, Mahesh Dattani, Tripurari Sharma, Usha Ganguli,
Ottayan, Theyyatheyyam, Hayavadana, Tughlaq, Chakravyuha, A Muggy Night in Mumbai, 30 Days in
September, Rudali.
“Hayavadana: Model of Complexity.” In Girish Karnad’s Plays: Performance and Critical Perspectives,
ed. Tutun Mukherjee. New Delhi: Pencraft International.
“Mee on Mee.” TDR 48,3 (T175).
“Star of India: Ratan Thiyam.” American Theatre, July/August.
“Mahesh Dattani: Invisible Issues.” Performing Arts Journal, Issue #55.
“Kavalam Narayana Panikkar: Meaning into Action.” Performing Arts Journal, Issue #55.
“Tripurari Sharma: Out in the Open.” Performing Arts Journal, Issue #55.
"Adding Texture To Text: Kerala Theatrical Techniques in Shakespeare's Timon Of Athens."
Seagull Theatre Quarterly 5:54-59.
"The Use of Folk Philosophy in Kavalam Narayana Panikkar's Poetic Theatre of Transformation."
Seagull Theatre Quarterly 7:58-62.
Book Review: “Performance Studies and the Cognitive Turn.” Review of Performance Cognition: Theatre
Studies and the Cognitive Turn and Engaging Audiences. TDR (T211).
Book Review: Classics in Post-colonial Worlds and Crossroads in the Black Aegean. Theatre Journal.
March.
Book Review: Theatres of Independence: Drama, Theory, and Urban Performance in India Since 1947 by
Aparna Dharwadker, Poetics, Plays and Performances: The Politics of Modern Indian Theatre by
Vasudha Dalmia, and A Critical Stage: The Role of Secular Alternative Theatre in Pakistan by Fawzia
Afzal-Khan. TDR. Winter (T196).
Performance Review: Pig Iron’s Tenth Anniversary Season. Theatre Journal. December.
Book Review: Oxford Companion to Indian Theatre by Ananda Lal. TDR. Fall (T191).
Performance Review: all wear bowlers. Theatre Journal. December.
Performance Review: World Trade Centre and The Rose of Lidice. Theatre Journal. October.
CONFERENCE PAPERS AND LECTURES:
2012
“Kutiyattam; The Abandonment of Sita,” a pre-performance lecture at The Asia Society. September 8.
2011
Co-Convener “Performing Tragedy Trough a Non-Western Lens” Conference at the Columbia University
Center for the Mediterranean. With Helene Foley.
2010
“Translating Culture” for round-table titled "Directors and Translators: A Dialog." ALTA.
2009
“The Role of Antigone in Manipur, NE India.” Faculty Lecture at Swarthmore College. Available online at:
http://www.swarthmore.edu/x19084.xml
2008
“Radical Uses of Antigone: The Fight for Regional Autonomy through Regional Culture in Manipur, NE
India.” “Year of Antigones” conference at DePaul University. By invitation of Sean Kirkland and Tina
Chanter.
2007
“Antigone: The Fight for Regional Autonomy through Regional Culture in Manipur, NE India.” Lecture at
the Archive of Performances of Greek and Roman Drama, Oxford University, Oxford. By invitation of
Edith Hall.
2007
“Radical Uses of Antigone in Manipur, NE India.” Conference titled: Greece, Rome, and Colonial India.
University of London, School of Oriental and African Studies. By invitation of Edith Hall.
2007
“Enacting an Alternative Modernity: Kavalam Narayana Panikkar Redirects Indian Theatre.” Performance
Studies International, NYU.
2007
“Antigone’s Role in Manipur, NE India.” Association for Theatre in Higher Education (ATHE).
2007
“Literal, Cultural, and Political Translations of Antigone in Manipur, NE India.” ATHE.
2007
“The Theatre of Roots in India, and the Politics of Aesthetics in the work of Kavalam Narayana Panikkar.”
ATHE.
2006
“Location/Context/Politics: Circulating Ratan Thiyam.” 35th Annual South Asia Conference. Madison, WI.
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2005
2000
1999
1998
1996
EDITORIAL:
2013-present
2012-2013
“The Institute as Director: The Sangeet Natak Akademi Directs the Theatre of Roots.” Performance
Studies International, Brown University.
“Re-Directing Modern Indian Theatre.” Swarthmore College. Lecture sponsored by the William J. Cooper
Foundation.
“Girish Karnad: Decolonizing Ways of Seeing in Hayavadana.” Performance Studies International,
Arizona.
“Establishing ‘Our Own’ Identity Through ‘Our Own’ (National) Theatre: The Theatre of Roots Movement
in India.” Performance Studies International, Wales.
“Toward Thanathu: The Direction of Kavalam Narayana Panikkar.” ATHE.
“Ambassador Topeng: Productions of Topeng in the United States.” Asians in America Conference,
NYU.
Contributing Editor, TDR.
Performance Review Editor, Women and Performance.
DIRECTING EXPERIENCE:
2015
Ferry Play, a site-specific podplay. Available in the app store March, 2015.
2014
Readymade Cabaret, after Duchamp. Austrian Amabassador’s House and Hotel New Work. December.
2014
A Serious Banquet, devised interactive piece based on Picasso’s 1908 party honoring Henri Rousseau.
New York Theatre Workshop and Judson Church. June.
2014
Pool Play, site-specific theatre piece for Waterside pool. February.
2011
The Gaza Monologues, United Nations International School.
2010
Divided Together: Hayavadana, Girish Karnad, Swarthmore College.
2006
Big Love, Charles Mee, Swarthmore College.
2005
Harvest, Manjula Padmanabhan, East Coast Artists at Swarthmore College.
2005
The Persians, Aeschylus/Auletta, Swarthmore College.
2004
Savage/Love, Shepard/Chaikin, Swarthmore College.
2003
Requiem for the Dead, Charles Mee, The Magic Theatre, San Francisco. Workshop.
2002
First Love, Charles Mee, The Magic Theatre, San Francisco.
2001
First Love, Charles Mee, New York Theatre Workshop.
2001
Amazons, Robert Auletta, The Market Theatre.
2001
The Imperialists at the Club Cave Canem, Charles Mee, The Market Theatre.
2000
Fefu and Her Friends, Bard College.
1999
The Oldest Profession, deconstructed from Shaw by Erin B, Mee, Mabou Mines.
1999
Not I, Samuel Beckett, Bard College.
1999
Antigona Furiosa, Griselda Gambaro, Vassar College.
1998
Matt Helm in “Assassins Have Starry Eyes,” Rob Kuhns, SoHo Rep, NYC. World Premiere.
1998
Dead and Gone to Granny’s, Jussi Wahlgren, SoHo Rep, NYC. American Premiere.
1997
The Flickering Blue Glow, Rob Kuhns, SoHo Rep, NYC. World Premiere.
1996
The House of Blue Leaves, John Guare, Yale Dramat, New Haven.
1996
Aramba Chekkan (The Myth of Orpheus), adapted by Kavalam Narayana Panikkar, performed in
Malayalam, with The Sopanam Company, Kerala, India. Workshop production.
1996
The Little Clay Cart, Sudraka, Workshop, Fordham University.
1994
Commedia Tonite!, conceived by John Eisner and Erin B. Mee, Theatre Row, NYC. World Premiere.
1994
Timon of Athens, translated by Paul Schmidt from Shakespeare, HERE, NYC. World Premiere.
1993
Divided Together, Girish Karnad, Ontological at St. Mark's Theater, NYC. American Premiere.
1993
Faust, Goethe (adapted by Kavalam Narayana Panikkar), performed in Malayalam, with The Sopanam
Company, in Kerala, India. World Premiere.
1993
Fuente Ovejuna, Lope De Vega, Bard College.
1992
Ottayan, The Lone Elephant, Kavalam Narayana Panikkar, Ontological at St. Mark's Theater, NYC.
American Premiere.
1992
Eugene Onegin, Paul Schmidt, Bard College. World Premiere.
1992
Electra, Ezra Pound/Sophocles, Bard College.
1991
Troilus and Cressida, Shakespeare, The Guthrie Laboratory, Minneapolis.
1990
Waiting for Godot, Samuel Beckett, The University of Minnesota Graduate Acting Program.
1990
Collage-An AIDS Benefit, The Guthrie Laboratory.
1989
Silence, Harold Pinter, The Guthrie Laboratory.
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1988
1988
1987
The Imperialists at the Club Cave Canem, Charles L. Mee Jr., The Public Theatre and HOME for
Contemporary Theatre and Art, NYC. World Premiere.
The Peach-Bottom Nuclear Reactor, Full of Sleepers, Mac Wellman, HOME for Contemporary Theatre
and Art, NYC. World Premiere.
Linda Ronstadt Called, Charles L. Mee Jr., HOME for Contemporary Theatre and Art, NYC.
DRAMATURGY:
1997
Dramaturg, The Visit of the Old Lady, directed by JoAnne Akalaitis, New York City Opera.
ARTISTIC/ADMINISTRATIVE:
2013-present Co-Artistic Director, This Is Not A Theatre Company
2012-present Board Member, Friends of the Jenin Freedom Theatre
1999
Resident Artist, Mabou Mines.
1991-1995
Artistic Director, The ARK Ensemble.
1989-91
Resident Director, Guthrie Theater.
1990
Director-in-Residence, The Playwrights Center.
1986-87
Assistant to the Artistic Director and Associate Director/Dramaturg, La Jolla Playhouse.
1985-86
Literary Assistant, American Repertory Theatre. (Worked on Akalaitis’ production of The Balcony; sat in
on rehearsals for Robert Wilson’s Alcestis, Robert Brustein’s The Changeling.)
PROFESSIONAL AFFILIATIONS:
2000-present Member, Society of Stage Directors and Choreographers.
1995-present Member, Lincoln Center Theater Directors Lab.
1991-present Usual Suspect, New York Theatre Workshop.
AWARDS:
2003
2000-01
1999
1995-98
1993
Paula Goddard Award for Dissertation Work. NYU.
Dean’s Dissertation Award. NYU.
Research Grant, Vassar College. For dissertation research.
Graduate Assistantship, Department of Performance Studies, NYU. Tuition remission and stipend of
$8,600 for each of three years. Assistant to Barbara Kirshenblatt-Gimblett.
Fulbright Grant to study "Ritual Dance and Dance-Drama of Kerala, India, with Reference to Modern
Drama."
MISCELLANEOUS:
2013 and 2014 Lecture on Sanskrit Drama at Hunter College, NYC.
2012
Rehearsal observer/participant for SITI company workshop of Who Do You Think You Are? May.
2012
Moderator of post-show discussion for: In Spitting Distance by Taher Najib. hotINK at the Lark. 22 March
2012
Panel on Charles Mee’s The Rules. University of Toronto. 9 March
2011
Director, Reading of Amir Zuabi play at New York Theatre Workshop. September.
2011
Lecture on Contemporary Productions of Antigone, Connecticut College.
2011
Lecture on Charles Mee. Temple University
2010
Pre-show speeches for New York Theatre Workshop: Little Foxes
2010
Participant: Symposium on the work of Charles Mee, CUNY Graduate Center
2009
Participant: Symposium on the work of Esther Chae, CUNY Graduate Center
2008
Lecture on Sanskrit Drama and Modern Indian Theatre. Columbia Graduate Playwriting Program
2007
Workshop on Gesture. Lincoln Center Theatre Director’s Lab
2007
Chair, Panel at PSi conference. NYU
2007
Helped Tom Whitman teach gamelan to students in Chester – taught various theatre exercises
2006
Workshop on Gesture. Lincoln Center Theatre Director’s Lab
2004
Program notes on Theyyam for World Music Institute
2003
Chair, Panel on Aeschylus’ The Persians. Swarthmore College. Organized by Edith Hall.
2003-present Guest Lectures on various topics at NYU, Barnard, Hunter, Yale, Columbia. Ride-the-Tide lectures and
workshops at Swarthmore College.
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