Carrie Preston

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I am currently working on a book called Participate! Race and Gender in the Audience for Interactive Theater. I examine the political and pedagogical work of audience participation, with studies of Jean Genet’s The Blacks, Brandon Jacobs-Jenkins’s An Octoroon, the 2016 Broadway plays Shuffle Along and Hamilton, Emmursive’s Sleep No More, Taylor Mac’s The Lily’s Revenge, and Anna Deveare Smith’s Notes from the Field. While audience participation is often celebrated as politically engaged and transformative, I consider its place in an experience economy that can have palliative impacts that might discourage other forms of political participation.

I teach courses on modernist literature, feminist, gender, and queer theory, and modern drama and performance. Arts of Gender: Performing Gender in Drama, Dance, Film, and Theory considers women as performers and dramatists and stagings of gender from antiquity to the present. Students have the opportunity to interpret readings in drama and feminist theory through performances of their own. Queer Drama and Performance examines how twentieth-century and contemporary theaters have shaped our perceptions of sexuality and sexual identity and influenced the ways queer communities define themselves and advocate for social change. I direct the Women’s, Gender, & Sexuality Studies Program and serve as the humanist on the teaching team for WS 101: An Interdisciplinary Introduction to Gender and Sexuality Studies, the gateway course for the WGS minor. I also teach WS 801: Theories and Methods in Women’s, Gender, & Sexuality Studies, the required course for the graduate certificate in WGS.

Work in Progress

• Participate! Race and Gender in the Audience for Interactive Theater, a book project considering the political and pedagogical work of audience participation, with studies of Jean Genet’s The Blacks, Brandon Jacobs-Jenkins’s An Octoroon, Broadway’s 2016 Shuffle Along and Hamilton, Emmursive’s Sleep No More, Taylor Mac’s The Lily’s Revenge, and Anna Deveare Smith’s Notes from the Field.

Selected publications

• “Hissing, Bidding, and Lynching: Participation in Jacobs-Jenkins’s An Octoroon and the Melodramatics of American Racism,” The Drama Review, forthcoming 2018.
• “Sweeney Agonistes in Noh Mask: T. S. Eliot, Japanese Noh, and the Fragments of World Drama,” Neohelicon, forthcoming 2018.
• “Gender and Sexuality,” in The New Ezra Pound, ed. Mark Byron (Cambridge University Press, forthcoming 2018).
• “Translation in Noh Time,” Modernism/modernity, forthcoming 2018.
• “Ozu’s A Story of Floating Weeds and the Art of Being Behind,” in A Modernist Cinema, eds. Scott Klein & Michael Valdez Moses (New York: Oxford University Press, forthcoming 2018).
• “Ezra Pound as Noh Student: The Lessons of Hagoromo’s Angel,” Approaches to Teaching Pound, eds. Ira Nadel & Demetres Tryphonopoulos (Modern Language Association, forthcoming 2018).
• Learning to Kneel: Noh, Modernism, and Journeys in Teaching (New York: Columbia, 2016).
• “Chapter 8. Dance,” in Cambridge Companion to Modernist Cultures, ed. Celia Marshik (Cambridge, UK: Cambridge University Press, 2014): 128-144.
• “Modernism’s Dancing Marionettes: Oskar Schlemmer, Michel Fokine, and Ito Michio,” in Modernist Cultures (9.1, 2014)
• “Michio Ito’s Shadow: Searching for the Transnational in Solo Dance,” in On Stage Alone: Soloists and the Formation of the Modern Dance Canon, eds. Claudia Gitelman & Barbara Palfy (Gainesville: University Press of Florida, 2012)
• “Taking Direction from Beckett: Noh/No, Footfalls/Pas,” in Back to the Beckett Text, ed. Tomasz Wiśniewski (Gdansk: University of Gdansk Press, 2012)
• Modernism’s Mythic Pose: Gender, Genre, Solo Performance (New York: Oxford, 2011). Winner of the De la Torre Bueno Prize for scholarship in dance
• “Joyce’s Reading Bodies and the Kinesthetics of the Modernist Novel,” in Twentieth-Century Literature (55.2, Summer 2009)
• “Posing Modernism: Delsartism in Modern Dance and Silent Film,” in Theatre Journal (61.2, 2009)
• “The Motor in the Soul: Isadora Duncan and Modernist Performance,” in Modernism/modernity (12:2, 2005)
• “You! hypocrite lecteur! New Readings of T.S. Eliot,” in Twentieth-Century Literature (53:3, Fall 2007)

Fellowships and Awards

• The United Methodist Church Scholar-Teacher of the Year Award (2015)
• The Frank and Lynne Wisneski Award for Excellence in Teaching in the Boston University College of Arts & Sciences (2013)
• De La Torre Bueno Prize, for a book on dance (2012)
• Boston University Humanities Foundation, Junior Faculty Fellowship (2010–2011)
• The Peter Paul Career Development Professorship (2007–2010)
• Japan Society for the Promotion of Science Postdoctoral Research Grant (2009)
• The Excellence in Student Advising Award (2008)
• National Endowment for the Humanities Seminar Grant (Dublin 2007)
• Mellon Dissertation Research Grant (2005)
• The Cavanaugh Award, National Society of Arts and Letters (2003)
• Andrew W. Mellon Fellowship in Humanistic Studies (2000–2001)