Personal Teaching Statement
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.
Selected Publications, Projects, and Awards
- Shakespeare in the Cinema: Ocular Proof (Albany: State University of New York Press, 2002).
- “Jazz and Shakespeare” in the forthcoming Shakespeare Encyclopedia, ed. Patricia Parker (Greenwood Press).
- “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, UNL.
- “The Psychology of Teen Hamlets: Edgar G. Ulmer’s Strange Illusion,” Quarterly Review of Film and Video 28 (2011): 353-61.
- “Stephen M. Buhler on Romeo and Juliet, media ‘repackaging,’ West Side Story – and Bruce Springsteen.” In Bloom’s Guides: “Romeo and Juliet”, ed. Harold Bloom, new edition (New York: Bloom's Literary Criticism, 2010).
- Co-leader, with Mike LoMonico, of Folger Shakespeare Library/UNL English Teaching Shakespeare Institute; 28 teachers from across the U. S. participated (Summer 2008).
- “Politicizing Macbeth on U. S. Stages: Garson’s MacBird! and Greenland’s Jungle Rot,” in Macbeth: New Critical Essays, ed. Nick Moschovakis (New York: Routledge, 2008).
- Education Director and Co-founder, Flatwater Shakespeare Company. Dramaturg and Text Advisor for productions of Wilde’s The Importance of Being Earnest, Pinter’s The Homecoming, Kushner’s Angels in America, Part One: Millennium Approaches and Part Two: Perestroika, and Beckett’s Waiting for Godot (Haymarket Theatre, 2009-13); The Taming of the Shrew, The Merry Wives of Windsor, Julius Caesar, The Two Gentlemen of Verona, and Antony and Cleopatra (Swan Theatre 2008-10); A Midsummer Night’s Dream, Twelfth Night, Much Ado About Nothing, and The Comedy of Errors (Lincoln Community Foundation Garden and city-wide tours, 2011-14); Othello (Lincoln Community Playhouse, 2011). Sound design for The Taming of the Shrew, Richard III, The Merry Wives of Windsor, Julius Caesar, Antony and Cleopatra, Twelfth Night (2008-10, 2012). Musical Adapter / Composer for The Two Gentlemen of Verona (2010), Much Ado About Nothing (2013), and The Comedy of Errors (2014).
- UNL College of Arts and Sciences Distinguished Teaching Award, 1991. University of Nebraska’s Outstanding Teaching and Instructional Creativity Award (OTICA), 1999. Member of UNL’s Academy of Distinguished Teachers, admitted in 1999. Aaron Douglas Professorship for Teaching Excellence, 2010-present.