I regularly ask students to read aloud, recite, enact, or perform passages from literature. In encouraging them to bring the language more vividly to life in their own understandings and for their listeners, I share some of my own contemporary musical settings of early modern poetry. When the students respond in kind--a staged dramatic interpretation, a screenplay adaptation, or even an outdoor rally--it shows their grasp of the material and their engagement with it.
For me, the best part of teaching is learning: when everyone in a class, including the instructor, comes away from the experience knowing more (and more deeply) about the subject. Dialogue with students and with colleagues on campus, throughout the discipline, and across disciplinary lines provides both the inspiration and the environment for effective teaching and constructive research. I've found that work in the humanities especially depends not only upon individual insight and effort but also upon collaboration and conversation.
Shakespeare in the Cinema: Ocular Proof (Albany: State University of New York Press, 2002).
“Jazz and Shakespeare” in the forthcoming Stanford Global Shakespeare Encyclopedia, ed. Patricia Parker (online, Stanford University Press, 2016).
“Palpable Hits: Popular Music Forms and Teaching Early Modern Poetry,” The CEA Critic 78.2 (July 2016): 229-41.
Panel and Workshop Presenter, “Teaching Shakespeare to Undergraduates,” Folger Institute program; Folger Shakespeare Library, Washington DC, June 2016.
“Shakespeare’s First Folio – and the First Folio’s Shakespeare,” public lecture in conjunction with NEH / Folger Shakespeare Library exhibition; Durham Museum, Omaha, NE, April 2016.
“King of Shadows: The Warner Brothers A Midsummer Night's Dream as Source, Intertext, and (Counter)Example,” paper shared with the Re-evaluating Earlier Generations of Shakespeare Films seminar, Shakespeare Association of America; New Orleans, LA, March 2016.
“Kurt Weill's One Touch of Venus and the Arts of Appropriation,” paper presented at Appropriation in an Age of Global Shakespeare conference; University of Georgia, Athens, GA, November 2015.
“Falstaff and the Construction of Musical Nostalgia,” paper shared with the Memory and Musical Performance seminar, Shakespeare Association of America; Vancouver, BC, March 2015.
“The Duke Speaks Out: Integration and Appropriation in Such Sweet Thunder and My People,” paper presented at the Symposium on Shakespeare and American Integration, University of Alabama, Tuscaloosa, AL, November 2013.
“‘Music and Text in the English Renaissance’: A Collaborative Enterprise,” paper presented at the South Central Renaissance Conference; Omaha, NE, March 2013. Co-presented with Professor Pamela Starr of the School of Music.
“The Psychology of Teen Hamlets: Edgar G. Ulmer’s Strange Illusion,” Quarterly Review of Film and Video 28 (2011): 353-61.
Education Director and Co-founder, Flatwater Shakespeare Company. Dramaturg and Text Advisor for productions including Tony Kushner’s Angels in America, Part One: Millennium Approaches and Part Two: Perestroika, Samuel Beckett’s Waiting for Godot (Haymarket Theatre, 2011-13); A Midsummer Night’s Dream, Twelfth Night, Much Ado About Nothing, The Comedy of Errors, and As You Like It (Lincoln Community Foundation Garden, Swan Theatre, and city-wide tours, 2011-15); Othello (Lincoln Community Playhouse, 2011); Hamlet and The Merchant of Venice (Swan Theatre, 2015-16). Sound design for Twelfth Night (2012). Contributing Musical Adapter / Composer for Much Ado About Nothing (2013) and The Comedy of Errors (2014).
University of Nebraska-Lincoln's College of Arts and Sciences Distinguished Teaching Award, 1991.
University of Nebraska-Lincoln’s Outstanding Teaching and Instructional Creativity Award (OTICA), 1999.
Member of the University of Nebraska-Lincoln's Academy of Distinguished Teachers, admitted in 1999.
Aaron Douglas Professorship for Teaching Excellence, 2010-present (renewed 2015).
Lincoln Arts Council and City of Lincoln Mayor's Art Awards, Artistic Achievement in Literary Arts, 2015.