Curriculum Vitae. Jure Gantar

Curriculum Vitae Jure Gantar Address 283 Moirs Mill Rd Bedford, NS, B4A 3Y3 (902) 832-6275 jgantar@dal.ca Education 1992 Ph.D. in Drama, University of Toronto, Canada (Ph.D. thesis: Dramaturgical Strategies for Producing Laughter) 1989 M.A. in Dramaturgy, University of Ljubljana, Slovenia (M.A. thesis: Ritualna struktura komedije [The Ritual Structure of Comedy] ) 1987 B.A. in Dramaturgy, University of Ljubljana, Slovenia (B.A. thesis: Oscar Wilde in smrt komedije [Oscar Wilde and the Death of Comedy] ) Awards 2004 Aid to Scholarly Publications Programme grant (for manuscript The Pleasure of Fools), Canadian Federation for the Humanities and Social Sciences 1997 Essay Prize, Modern Drama (for the best essay by a scholar new to the profession) 1991-92 University of Toronto, Ontario Graduate Scholarship 1989-91 University of Toronto, Connaught Scholarship 1989 Radio Ljubljana Award (for radio-play) 1988 Problemi Award (for essay on Franz Kafka) 1986 University of Ljubljana, France Prešeren Student Award (for a paper Zgodovinski horizont komičnega v rimski komediji [The Historical Horizon of the Comic in Roman Comedy] ) 1982 Alliance Française Award (for essay in French) Employment 2009- Professor (tenured), Department of Theatre, Dalhousie University, Halifax 2005- Associate Fellow, University of King s College, Halifax 1998- Associate Professor (tenured), Department of Theatre, Dalhousie University, Halifax 1995-98 Assistant Professor (tenure-track), Department of Theatre, Dalhousie University, Halifax 1992-95 Assistant Professor (limited-term), Department of Theatre, Dalhousie University, Halifax 1988-92 Lecturer (limited-term appointment), Academy of Theatre, Radio, Film, and

Television, University of Ljubljana Administrative and Professional Service Department 2010- Member, Student Matters Committee March-May 2009 Student Academic Advisor 2008 Member, Hiring Committee for a Tenure-Track Position in Theatre and Film Studies 2008 Chair, Hiring Committee for a Limited-Term Position in Theatre Studies 2008 Member, Hiring Committee for an Instructor Position in Costume Studies 2007-2008 Member, Hiring Committee for a Tenure-Track Position in Film Studies 2007-2008 Chair, Hiring Committee for a Tenure-Track Position in Acting 2007-2009 Member, Awards Committee August 2007 Acting Chair 2007 Member, Hiring Committee for a Limited-Term Position in Theatre and Film Studies 2006-2007 Chair, Hiring Committee for a Tenure-Track Position in Acting 2001-2005 Ex-officio Chair of all Departmental Hiring Committees 2001-2005 Chair 2000 Member, Tenure Committee 2000-2001 Member, Hiring Committee for a Tenure-Track Position in Theatre Studies 1999-2000 Member, Hiring Committee for a Tenure-Track Position in Costume Studies 1999-2001 Student Academic Advisor, Department of Theatre 1998 Member, Hiring Committee for a Tenure-Track Position in Voice and Speech August 1997 Acting Chair 1996-1997 Chair, Play Selection Committee 1995-1996 Member, Play Selection Committee 1995-1996 Member, Advertising Committee 1995 Member, Tenure Committee June 1994 Acting Chair 1993 Member, Play Selection Committee 1993-1998 Student Academic Advisor, Department of Theatre 1992-1993 Member, Advertising Committee Faculty 2010- Associate Dean, Faculty of Arts and Social Sciences 2009-2010 Chair, Hiring Committee for the Tier 2 CRC in European Studies, Faculty of Arts and Social Sciences 2009- Academic Integrity Officer, Faculty of Arts and Social Sciences

2009-2010 Presiding Dean, College of Sustainability 2009-2010 Acting Dean, Faculty of Arts and Social Sciences 2008-2009 Member (Faculty of Arts and Social Sciences), Writing-Across-the Curriculum Committee, College of Arts and Social Sciences 2008-2009 Member, Music Department Unit Review, Faculty of Arts and Social Sciences 2008- Member, Academic Development Committee, Faculty of Arts and Social Sciences 2008- Member, Nominating Committee, Faculty 2008-2009 Associate Dean, Faculty of Arts and Social Sciences 2006-2008 Member, Professional Development Committee, Faculty of Arts and Social Sciences 2001 Member, Task Force on Identity and Curriculum, Faculty of Arts and Social Sciences 2000-2001 Member, Academic Development Committee, Faculty of Arts and Social Sciences 1999-2000 Chair, Academic Development Committee, Faculty of Arts and Social Sciences 1997-2000 Member, Joint Council of the Contemporary Studies Programme, Dalhousie University/University of King s College 1997 Member, Unit Review Committee for Russian Studies, Faculty of Arts and Social Sciences 1994-1997 Member, Academic Development Committee, Faculty of Arts and Social Sciences University 2010 Chair, Committee on Master of Journalism proposal, Faculty of Graduate Studies 2010- Member, Committee for Review of Graduate Program in Nursing, Senate, Dalhousie University 2010- Member, Classroom Planning Committee, Dalhousie University 2009-2010 Co-Chair, President s Advisory Council on Sustainability, Dalhousie University 2008-2009 Member, Steering Committee for Undergraduate Health Project, Dalhousie University 2008-2009 Member, Steering Committee for Design and Innovation, Dalhousie University 2008-2009 Member, Classroom Planning Committee, Dalhousie University 2008- Member (Faculty of Arts and Social Sciences), Senate, Dalhousie University 2001 Member, Student Discipline Committee, University of King s College 2000-2001 Member, Killam Lecture Committee, Dalhousie University 1997-1998 Member (Faculty of Arts and Social Sciences), Senate, Dalhousie University Editorial boards 2008- Member, Amifteater editorial board 2007- Member, Gledališki list Drama SNG Maribor editorial board 2006- Member, PhaenEx editorial board

Refereeing 2010 External Referee, Promotion to Full Professor, University of Alberta (Piet Defraeye) 2010 External Reviewer, Department of English and Theatre, Acadia University 2009-2010 External Referee, Promotion to Associate Professor, University of Ljubljana 2009 Expert Assessor, BA in Dramaturgy and Performing Arts, Academy of Theatre, Radio, Film, and Television, University of Ljubljana 2008 Expert Assessor, BA in Performance Studies and Creative Writing, Faculty of Humanities Koper, University of Primorska 2008 Referee, Amfiteater (S. E. Wilmer) 2008 External Reviewer, Theatre Studies program, University of Prince Edward Island 2006 Referee, SSHRC Standard Research Grant Application (Anna Migliarisi) 2004 External Referee, Tenure and Promotion to Associate Professor, University of Waterloo (Gerhard Hauck) 2000 External Referee, Tenure and Promotion to Associate Professor, University of Victoria (Jennifer Wise) 2003 Referee, EPTC/TCEP Conference (Donia Mounsef) 1999 Referee, Canada Council Killam Research Fellowship Application (Serge Ouaknine) 1998 Referee, Canadian Slavonic Papers (Jacek Kozak) 1998 External Referee, Tenure, University of King s College (Neil Robertson)

Publications Books 2007 Humar, Marjeta et al., eds. Gledališki terminološki slovar [The Terminological Dictionary of Theatre]. Trans. Jure Gantar and Rastko Rafael Kozlevčar. Ljubljana: Založba ZRC. 271 p. 2005 The Pleasure of Fools: Essays in the Ethics of Laughter. Montreal: McGill- Queen s University Press. 193 p. 1993 Dramaturgija in smeh [Dramaturgy and Laughter]. Ljubljana: Knjižnica Mestnega gledališča ljubljanskega. 167 p. Refereed articles and chapters 2010 Darwin in dramska teorija [Darwin and Dramatic Theory]. Amfiteater 2.1. 7-21. <http://www.agrft.uni-lj.si/amfiteater/prejsnje_stevilke/2009070914512144/> 2005 Concept Lite: An Analysis of Transposition as a Staging Strategy. Directing and Authorship in Western Drama. Ed. Anna Migliarisi. Intro. Don B. Wilmeth. Ottawa: Legas. 29-41. 2001 From Invention to Convention: A Critical View on the Evolution of the Aside in French Neoclassical Drama. Style 35.3. 517-30. 1999 The Case of the Falling Man. A New Reading of Bergson s Le Rire. Mosaic 32:2. 43-57. 1997 Postmodern Comedy. Tautology or Pleonasm? Studies in Humanities 24.1-2. 1-12. 1996 Catching the Wind in a Net. The Shortcomings of Existing Methods for the Analysis of Performance. Modern Drama 39.4. 537-46. 1994 Theatrical Laughter and the Concept of Cryptic Noise. Recherches sémiotiques/semiotic Inquiry 14.3. 143-56. 1988 Znanstvena metoda raziskovanja [The Scholarly Method of Research]. Sodobnost 36:2. 213-4. 1987 Nepopolnosti [Imperfections]. Problemi Literatura 25.3. 166-7. 1987 With Barbara Kenda. Franz Kafka in Jože Plečnik: rahlo neresen esej o resnih zadevah [Franz Kafka and Jože Plečnik: A Slightly Trivial Essay on Serious Matters]. Problemi Literatura 25.2. 5-7. 1987 Zgodovinski horizont komičnega v rimski komediji. Drugi del. [The Historical Horizon of the Comic in Roman Comedy. Part Two]. Maske. 1986 Zgodovinski horizont komičnega v rimski komediji. Prvi del [The Historical Horizon of the Comic in Roman Comedy. Part One]. Maske. Invited articles and chapters 2010 Ptica selivka [The Migratory Bird]. Gledališki list Drama SNG Maribor 87.6. 11-16.

2010 Molièrovi italijanski posli [Molière s Italian Job]. Gledališki list MGL 60.10. 72-8. 2010 Prevajalci in izdajalci [Translators and Traitors]. Gledališki list MGL 60.9. 72-5. 2010 Odrski šund [The Stage Pulp]. Gledališki list MGL 60.7. 44-7. 2009 Iz Berlina na Broadway [From Berlin to Broadway]. Gledališki list MGL 60.5. 80-3. 2009 Rojstvo nacizma iz duha malomeščanstva [The Birth of Nazism from the Spirit of Petite Bourgeoisie]. Gledališki list Drama SNG Maribor 87.2. 18-25. 2009 Visoka maša potrošniške družbe [The High Mass of the Consumer Society]. Gledališki list MGL 60.3. 70-3. 2009 Dvajset let pozneje [Twenty Years After]. Gledališki list Drama SNG Maribor 87.1. 33-41. 2009 Ključ do dramatikovega srca [A Key to the Playwright s Heart]. Gledališki list MGL 60.1. 80-3. 2009 Osli in oslarije [Asinaria and the Asinine]. Gledališki list MGL 59.11. 20-4. 2009 Dramaturgija gledališča no [The Dramaturgy of Noh Theatre]. Gledališki list Drama SNG Maribor 86.5. 13-20. 2009 Z obale Utopije v Arkadijo [From the Coast of Utopia to Arcadia]. Gledališki list MGL 59.10. 64-7. 2009 Razsodnost in razuzdanost [Sense and Sensuality]. Gledališki list Drama SNG Maribor 86.4. 11-17. 2009 Onstran realizma [Beyond Realism]. Gledališki list MGL 59.8. 68-71. 2008 Dramatizacija vsakdanjega življenja [Dramatization of Everyday Life]. Gledališki list MGL 59.4. 54-7. 2008 Cinična resnica in blagoslovljena laž [A Cynical Truth and a Blessed Lie]. Gledališki list Drama SNG Maribor 86.2. 26-33. 2008 Retorični obrat [The Rhetorical Turn]. Gledališki list MGL 59.3. 40-3. 2008 Zvestoba izvirniku [Faithfulness to the Original]. Gledališki list MGL 59.1. 50-3. 2008 Metafizične burke [Metaphysical Farces]. Gledališki list Drama SNG Maribor 85.6. 11-19. 2008 Ives, David. Minirana vrtnica [The Exploding Rose]. Trans. Jure Gantar. Gledališki list Drama SNG Maribor 85.6. 20-4. 2008 Odrska topografija Lepe Vide [The Stage Topography of The Beautiful Vida]. Gledališki list Drama SNG Maribor 85.3. 16-24. 2007 Nepričakovani uspeh praizvedbe Molièrovega Ljudomrznika [The Unexpected Success of the World Premiere of Molière s The Misanthrope]. Gledališki list MGL 58.4. 7-12. 2007 Moull, Zachary. Besede, besede, besede [Words, Words, Words]. Trans. Jure Gantar. Gledališki list Drama SNG Maribor 84.4. 76-9. 2007 O Hanley, Erin. Položaj francoskega meščanstva v Molièrovem času [The Position of the French Bourgeoisie in Molière s Time]. Trans. Jure Gantar. Gledališki list Drama SNG Maribor 84.4. 73-5. 2007 Ionesco in Descartes [Ionesco and Descartes]. Gledališki list Drama SNG Maribor 85.2. 11-15.

2007 Komedija in država [Comedy and the State]. Gledališki list Drama SNG Maribor 84.6. 11-23. 2007 Junaštvo gospoda Jourdaina [The Heroism of Monsieur Jourdain]. Gledališki list Drama SNG Maribor 84.4. 11-18. 2007 Vpliv gama žarkov na razvoj postmoderne dramaturgije [The Effect of Gamma Rays on the Evolution of Postmodern Dramaturgy]. Gledališki list Drama SNG Maribor 84.2. 11-17. 2006 Testimonial. Zakaj? AGRFT 60: zbornik ob šestdesetletnici 1946-2006 [Why? AGRFT 60: A Collection at Sixtieth Anniversary 1946-2006.] Eds. Barbara Sušec Michieli, Sebastijan Horvat, Igor Košir. Ljubljana: Akademija za gledališče, radio, film in televizijo. 58-9. 2006 Politika humorja [The Politics of Humour]. Emzin 16.1-2. 74-5. 2004 Črni humor in psihopatologija malomeščanskega vsakdana [Black Humour and the Psychopathology of the Petit-Bourgeois Everyday]. Gledališki list MGL 55.5. 5-12. 2000 Aristofan, erotika in smeh [Aristophanes, Erotics, and Laughter]. Maska 9.1-2. 61-3. 2000 Med Brechtom in Pirandellom: mariborska Drama in moderno gledališče [Between Brecht and Pirandello: The Maribor Drama and Modern Theatre]. Izročila zgodovine 7. 807-810. Rpt. of Med Brechtom in Pirandellom [Between Brecht and Pirandello]. Gledališki list Drama SNG Maribor (1986). 2000 Nekaj izhodišč za preučevanje romantične drame [Foundations for the Study of Romantic Drama]. Izročila zgodovine 7. 811-816. Rpt. of Romantično gledališče [Romantic Theatre]. Gledališki list Drama SNG Maribor (1987). 1996 Feydeau in razvoj motiva dvojčkov [Feydeau and the Development of the Motif of Twins]. Gledališki list Drama SNG Ljubljana 76.2. 7-9. 1994 Creativity and Wit. Creativity and Discovery: Conference Proceedings. Cornerbrook: Memorial University of Newfoundland, 99-110. 1991 Položaj bulvarke v repertoarju sodobnega slovenskega gledališča [The Status of Vaudeville in the Contemporary Slovene Theatre.] Gledališki list MGL 40.6. 68-72. 1991 Atomska dramaturgija Vilija Ravnjaka [Atomic Dramaturgy of Vili Ravnjak]. Umetnost igre. Štirje eseji [The Art of Playing. Four Essays]. By Vili Ravnjak. Ljubljana: Zveza kulturnih organizacij Slovenije. 7-8. 1990 Pred odprtimi vrati [In Front of the Open Door]. Pot v Rim. Aneks [The Passage to Rome. The Annexe]. By Vili Ravnjak. Ljubljana: Zveza kulturnih organizacij Slovenije. 3-4. 1989 Hristić, Jovan. Teoretična vprašanja, praktični odgovori [Theoretical Questions, Practical Answers]. Trans. Jure Gantar. Sodobnost 37.8/9. 835-42. 1989 Zakaj ne verjamem v sodobno slovensko gledališče [Why I Do Not Believe in Contemporary Slovene Theatre]. Sodobnost 37.2. 189-90. 1989 Vlada gospe ministrice [The Government of the First Lady]. Gledališki list MGL 38.5. 80-4. 1989 Zakaj verjamem v slovensko gledališče [Why I Do Believe in Slovene Theatre]. Gledališki list EG Glej 3. 2-5.

1988-89 Kritika brez predstave [Criticism without Performances]. Maske 4.10/11. 156-8. Trans. of Kritika bez predstave [Criticism without Performances]. Kritika i budućnost pozorišta. Novi Sad: Biblioteka matice srpske, 1988. 129-33. 1988 Criticism without Performances. La critique et l avenir du théâtre. Novi Sad: Biblioteka matice srpske. 137-41. Trans. of Kritika bez predstave [Criticism without Performances]. Kritika i budućnost pozorišta. Novi Sad: Biblioteka matice srpske, 1988. 129-33. 1988 Kritika bez predstave [Criticism without Performances]. Kritika i budućnost pozorišta. Novi Sad: Biblioteka matice srpske. 129-33. 1988 Slovenska komedija je tragedija slovenske literature [The Slovene Comedy is a Tragedy of Slovene Literature]. Gledališki list PDG Nova Gorica. 1988 Charney, Maurice. Kaj je batler videl v Kaj je videl batler? [What Did the Butler See in What the Butler Saw?] Trans. Jure Gantar. Gledališki list PDG Nova Gorica. 1988 Ortonov konec [Orton s End]. Trans. Jure Gantar. Gledališki list PDG Nova Gorica. 1988 Umetnost in umetelnost [Art and Craft]. Gledališki list Drama SNG Maribor. 1988 Marguerite Duras se igra [Marguerite Duras is Playing]. Gledališki list EG Glej. 1988 Popartistična burka [A Pop-art Farce]. Gledališki list PDG Nova Gorica. 1988 Krasni nori svet [The Brave Mad World]. Gledališki list PDG Nova Gorica. 1988 Kompozicijske značilnosti dramske kronike [The Structural Characteristics of Chronicle Play]. Gledališki list Drama SNG Maribor. 42.6. 10. 1988 Naši gostje: pogovor s Sandijem Krošlom [Our Guests: A Conversation with Sandi Krošl]. Gledališki list Drama SNG Maribor. 42.6. 18. 1988 Cesarjeva nova krojacnica [The Emperor's New Tailorshop]. Gledališki list SMG 3. 6-7. 1987-88 Mit in sodobno gledališče [Myth and Contemporary Theatre]. Maske 3.8/9. 95-100. 1987 Hristić, Jovan. Antigona [Antigone]. Trans. Jure Gantar. Gledališki list Drama SNG Ljubljana. 1987 O zveličanju gledalčeve duše [On the Redemption of the Spectator s Soul]. Gledališki list PDG Nova Gorica 33.1. 4-6. 1987 Stava [The Bet]. Gledališki list Drama SNG Maribor. 1987 Petdeset let kasneje [Fifty Years Later]. Gledališki list Drama SNG Maribor. 1987 Kdor se zadnji smeje, ne razume vica [He Who Laughs Last Doesn't Understand the Joke]. Gledališki list Drama SNG Maribor. 1987 Romantično gledališče [Romantic Theatre]. Gledališki list Drama SNG Maribor. 1987 Če bi [If]. Gledališki list Drama SNG Maribor. 1986 Med Brechtom in Pirandellom [Between Brecht and Pirandello]. Gledališki list Drama SNG Maribor. 1986 Gledališka izhodišča trojnega projetka [Theatrical Premises of the Triple Project]. Gledališki list Drama SNG Maribor. 1986 Komedija, ljubezen in hrana [Comedy, Love and Food]. Gledališki list Drama SNG Maribor.

Book reviews 2002 Review of The Death of Comedy. By Erich Segal. Dalhousie Review 82.2. 320 2000 Review of Tragedy and Comedy: A Systematic Study and a Critique of Hegel. By Mark William Roche. Modern Drama 43.2. 314-5. 2000 Review of Theatre of Chaos: Beyond Absurdism, Into Orderly Disorder. By William W. Demastes. Modern Drama 43.1. 130-1. 1995 Review of Playtexts: Ludics in Contemporary Literature. By Warren Motte. Dalhousie Review 75.2. 274-6. 1994 Review of Comedy: The Mastery of Discourse. By Susan Purdie. Dalhousie Review 74.3. 407-9. 1992 Review of Drama and Intelligence. By Richard Courtney. University of Toronto Quarterly 62.3. 207-9. 1986 Gledališka poetika Drage Ahačič [Theatrical Poetics of Draga Ahačič]. Maske. 1986 Jan Kott in hermenevtično gledališče [Jan Kott and Hermeneutical Theatre]. Maske. Conference papers 2007 The Phenomenological Nature of Lazzi. 6 th International Conference The World of Baroque Theatre. Český Krumlov, Czech Republic. 2006 Komedija in država [Comedy and the State]. Komedija, država, družba: Simpozij ob 250. obletnici rojstva prvega slovenskega komediografa Antona Tomaža Linharta. Borštnikovo srečanje. Maribor, Slovenia. 2003 A Poor-Man s Directorial Concept: An Analysis of Transposition as a Staging Strategy. Directing and Authorship in Western Drama: International Theatre Conference. Wolfville, Nova Scotia. 2003 Laughter in Utopia: An Examination of the Role of Humour in a Liberated Society. International Society of Humor Studies Conference. Chicago, Illinois. 2003 Reception of Molière s Comedies and the Ethics of Laughter. ACTR Conference/ Colloque de l ARTC. Halifax, Nova Scotia. 2003 The Decorum of Cruelty in Sartre: A Response to Tortured Stages. EPTC/ TCEP Conference. Halifax, Nova Scotia. 2003 Narrative Uncertainty as a Means of Dramatic Suspense: A Reading of Michael Frayn s Copenhagen. Performing Science in the Age of Uncertainty: A Symposium on Copenhagen, the Play. University of King s College. Halifax, Nova Scotia. 2002 The Name of the Nose: On Ethics of Self-Deprecating Humour. International Society of Humor Studies Conference. Bertinoro, Italy. 1997 Aristophanes Comic Dramaturgy and the Limitations of Theatrical Representation. Comedy and the Discourse of the Polis. Halifax, Nova Scotia. 1995 Comic Theory in the Restoration. Purcell 300: A Purcell Symposium. Halifax, Nova Scotia. 1995 Catching the Wind in a Net: The Shortcomings of Existing Methods for the Analysis of Performance. Why Theatre: Choices for the New Century. Toronto, Ontario.

1994 Dramaturgy and the Transferal of Comedy. The Voice of the Dramaturge. Atlanta, Georgia. 1994 Creativity and Wit. Creativity and Discovery. Corner Brook, Newfoundland. 1989 Nedolžno gledanje predstave [Innocent Viewing of a Performance]. Art and Children. Zagreb, Croatia. 1988 Kritika i budućnost pozorista [Criticism and the Future of the Theatre]. Sterijino pozorje. Novi Sad, Serbia. 1987 Mit in sodobno gledališče [Myth and Contemporary Theatre]. Borštnikovo srečanje. Maribor, Slovenia. Lectures 2010 Convocation Address. Faculty of Arts and Social Sciences, Dalhousie University. Halifax, Nova Scotia. 2010 Bertolt Brecht: Mother Courage and Her Children. Foundation Year Programme. University of King s College. Halifax, Nova Scotia. 2008 Ferdinand de Saussure: Course in General Linguistics. Foundation Year Programme. University of King s College. Halifax, Nova Scotia. 2008 Meyerhold and Biomechanics. Contemporary Studies/History of Science and Technology. University of King s College. Halifax, Nova Scotia. 2007 Ferdinand de Saussure: Course in General Linguistics. Foundation Year Programme. University of King s College. Halifax, Nova Scotia. 2007 A Book on Reading: Umberto Eco s novel The Name of the Rose. Series on Popular Aesthetics. University of King s College. Halifax, Nova Scotia. 2007 Samuel Beckett s Krapp s Last Tape and Theodor Fontane s Effie Briest. King s Theatrical Society. University of King s College. Halifax, Nova Scotia. 2006 Izbrana predavanja iz dramaturgije [Selected Lectures in Dramaturgy]. Akademija za gledališče, radio, film in televizijo. University of Ljubljana. Ljubljana, Slovenia. 2005 Modernity and Ibsen s A Doll s House. Foundation Year Programme. University of King s College. Halifax, Nova Scotia. 2003 Ionesco and the Modern. King s Theatrical Society. University of King s College. Halifax, Nova Scotia. 2003 Russian Revolutionary Experimentalism: Maxim Gorky s The Lower Depths. Foundation Year Programme. University of King s College. Halifax, Nova Scotia. 2000 Baroque Theatre. Foundation Year Programme. University of King s College. Halifax, Nova Scotia. 1999 Elizabetinska dramska teorija: tri predavanja [Elizabethan Dramatic Theory: Three Lectures]. Akademija za gledališče, radio, film in televizijo. University of Ljubljana. Ljubljana, Slovenia. 1999 Uporaba humorja pri pouku tujega jezika [The Use of Humour in the Teaching of a Second Language]. Celoletna sola za slovenščino kot tuji/drugi jezik. Faculty of Arts. University of Ljubljana. Ljubljana, Slovenia. 1997 Performing Brecht. A Lecture for Irondale Theatre Ensemble. Halifax, Nova Scotia

1997 Postmodern Comedy: Tautology or Pleonasm? Contemporary Studies Society. University of King s College. Halifax, Nova Scotia. Interviews 2010 Strah pred smehom je strah pred različnostjo [A Fear of Laughter is a Fear of Difference]. Interview with Tamara Matevc. August. 6 March 2010 <http://www.veza.sigledal.org/novice/replike-jure-gantar>. 2007 Intervju čez lužo [An Interview across the Pond]. Interview with Zala Dobovšek. August. 9 September 2007 <http://www.sigledal.org/ index.php?id=12&tx_ttnews[tt_news]=290&chash=0129dc5f0a>. 2005 Zdaj se še bedakom bojimo nasmejati, da jih ne bi užalili [We Are Now Even Afraid to Laugh at Fools in Case We Offend Them]. Nedelo 30 January: 27 2004 Interview. Information Morning. CBC Radio One. Halifax, Nova Scotia. 31 December. 1998 Je komedija manjvredna dramska zvrst? [Is Comedy an Inferior Dramatic Genre? Interview with Marjana Ravnjak. Ars: Radio Slovenija, 3. program. Ljubljana, Slovenia.

Teaching Record Classes taught THEA 1000.06 Introduction to Theatre (1992/93-1994/95: Nature of Theatre; 1995/96-2006/07: A Survey of Dramatic Literature) The purpose of this class is twofold: first, to introduce students to the study of theatre through analysis of a range of plays related to the DalTheatre season; and second, to instruct students in the methodology of writing in the humanities. Students will learn about the theatrical production process and practice skills of script and performance analysis. Students will address specific problems within their papers and discuss questions on an individual basis in writing tutorials. This class fulfills the writing requirement of Dalhousie University and is a prerequisite for all Theatre majors. THEA 2011.03 Classical Theatre (before 2004/05: The History of the Theatre from its Origins to the Renaissance) This class gives students an opportunity to study dramatic literature, staging practices, and theoretical foundations of the early history of theatre. Specific topics covered include Greek, Roman, and medieval, as well as classical Indian and Japanese theatres. Although there is no formal prerequisite for the class, students should normally be in their second year of study. A background in theatre, history, and/or dramatic literature will be an advantage. THEA 2012.03 Early Modern Theatre (before 2004/5: The History of the Theatre from the Renaissance to the Twentieth Century) This class is in a sense the sequel to THEA 2011.03, though that class is not a prerequisite. It aims to study the development of dramatic literature, staging practices, and criticism from the theatres of the Italian Renaissance and of Shakespeare to the final years of European neoclassicism. There is no formal prerequisite, but students should normally be in at least the second year of study. A background in history, theatre and/or dramatic literature will be an advantage. THEA 2900.06 Dramaturgy This class involves specific study of dramaturgical practices introduced in the Introduction to Theatre. Plays are read as performance scripts to gain an understanding of the implicit theatrical and social conventions which they contain, and with an eye to connecting scripts from other societies to a contemporary audience. The relationship between theatres and their

communities will be examined and students also work actively with the DalTheatre season of plays. THEA 3500.06 Modern Theatre The modern theatre has been characterized by successive bursts of creative energy and experiment. This class gives an opportunity to study these developments in detail and to examine several important theatrical theories and their application. THEA 3501.03 The Modern Theatre 1: Realism and Responses (cross-listed as ENGL 3501) From the 1870s until the coming of the First World War, the theatre underwent a series of radical transformations. This class explores the key theatrical movements of this period, including realism, naturalism, symbolism, and expressionism, and compares the theories behind them to the plays, stagecraft, and performance techniques they produced. THEA 3510.03 Tragedy (before 1994/95: Special Topics in Modern Theatre) A study of how and why the structure of plays has altered from the classical Greek period to the eclecticism of the 20th century. The content of the class will begin with Greek tragedy, cover the Elizabethan/Jacobean periods, the Spanish Golden Age, Neo-Classicism, 19th century Romanticism and modern drama. THEA 3511.03 Comedy This course complements the class on tragedy. The main subject of the course is an in-depth analysis of comedy and other related dramatic genres such as farce, burlesque, parody, travesty and tragicomedy. A substantial portion of class will be devoted to the investigation of classical theories of comedy and laughter. THEA 4700.06 Special Topics: Ethics of Laughter The student explores in detail particular areas of the theatre of special interest, with the guidance of members of the faculty. Frequency and the length of meetings are decided to meet the needs of the particular topic or project under study. The crucial question defining a critical perspective on the ethics of laughter is not whether or not there is offensive laughter but whether or not all laughter offends. It is probably clear to everyone that some instances of laughter not only lack sympathy but are often openly

condescending and malicious. What is less certain is whether or not there also exists laughter that is totally harmless. This Special Topics class is designed to investigate the possibility of such laughter and to examine if one can find a theoretical instance when this common audience reaction alienates no one. In order to achieve this objective, we will read a number of plays and some other related works, as well as works of theory and criticism on comedy, humour, and laughter. THEA 4735.06 Advanced Seminar in Baroque Culture (cross-listed as HIST 4162, MUSC 4360) This course offers its students a survey of key aspects of seventeenth and eighteenth-century European history and society along with a first-hand view of some of the most important aspects of baroque style and material culture. The class introduces students to the socio-political conditions that led to the birth of Baroque civilization before entering into an exploration of the court life of seventeenth and eighteenth-century Europe. It then examines the cultural and artistic forms most characteristic of this period, with particular emphasis on theatre history and on the role of the theatrical in the Baroque arts. As the course proceeds, students will have an opportunity to consider the connections between course material and the evidence of Baroque culture to be found in the Castle Theatre s scenographic machinery, its stock of original scenery and props, and its collection of historical costumes, as well as to witness an experimental Baroque opera performance. Finally, the course will include visits to Prague and other sites of interest to add to students understanding of the Baroque and its legacy to subsequent periods. THEA 4900.06 Theory and Criticism of Drama and Theatre All of the arts face a profound problem in the attempt to establish criteria for evaluating creative activity. This class tackles that problem as it affects the theatre. It looks at the various hypotheses and critical strategies that have been devised hitherto, and attempts to judge their present worth. It also asks what critical values are necessary for the survival and future growth of the theatre. THEA 4910.06 Theatre Criticism from Aristotle to the Present A workshop oriented class in which students learn the principles of performance reviewing and theatre criticism using the examples of current productions and classical authors. The student explores on an individual basis various subjects from traditional and modern dramatic theory. The discussed theoreticians include: Aristotle, Horace, Castelvetro, Boileau, Lessing, Hegel, Archer, Nietzsche, Souriau, Brecht etc.

THEA 4931.03 Contemporary Theatre This course will deal with the most recent developments in theatre, especially with those post-1970 s trends that exercise a broad international influence. Each year, our investigation will begin with a brief look at postmodern theatre and cover topics such as performance art, physical, and postdramatic theatre. The main focus of the course, however, will be dictated by what is currently happening on major stages across the world and may significantly change from one year to another. In the interest of a comprehensive and inclusive approach to the subject, both commercial and experimental theatres will be studied, and we will also examine some relevant works of criticism and theory. Since much of the material required for this course is not yet removed enough from our time to be accessible in scholarly literature, the students should be prepared for alternative methods of research. CTMP 2304.03 Semiotics Semiotics is a methodological discipline that studies signs, significations, and signifying systems. Because of its interest in the production of meaning, semiotics is widely applicable and has exercised a major influence on virtually every epistemological development in the second half of the twentieth century, from Lacanian psychoanalysis to deconstruction. Some of its fields of investigation include linguistics, culture, literature, mass media, theatre, and film. Through the reading of works by de Saussure, Peirce, Morris, Jakobson, Lévi-Strauss, Barthes, Eco, and other scholars, this course will introduce students to the essential terminology and typology of semiotics. Special attention will be paid to the practical use of semiotics as a critical and analytical tool, as well as to the variety of historical and cultural contexts in which semiotics appears. CTMP 3415.03 Studies in Contemporary Aesthetic and Critical Theories; Text and Performance: Semiotic Views of Theatre Topics vary each year. Some of the topics are Contemporary Theory and Mass Media, and The Aesthetics of Death. One of the areas of critical investigation where semiotics has been applied most successfully is theatre. With its unique ability to analyze, describe, and evaluate complex systems of signs, semiotics can address a variety of issues that evade many other methodological approaches to theatre and drama. Through studying a number of books and articles by authors such as Kowzan, Barthes, De Marinis, Elam, Ubersfeld, Pavis, Pfister, Fischer- Lichte, and Carlson, this course will focus on the relationship between the dramatic text and theatrical performance. We will discuss questions about the distinction between interpretation and transposition as staging

strategies, the notion of director as author, and the impact of modernist readings on the reception of classical texts. In addition to theoretical works, the students will also be expected to read a number of plays and research several productions. Some knowledge of the terminology of structuralism and poststructuralism will be beneficial but is not required. Directed-reading classes supervised 2001/02 CTMP 4515.06 1999/00 THEA 4700.06, THEA 4710.06 1997/98 THEA 4100.06, THEA 4700.06, THEA 0400.00 1996/97 THEA 4700.06 1995/96 THEA 3100.06, THEA 4700.06, THEA 4710.06 1994/95 THEA 3100.06 1993/94 THEA 3510.03, THEA 4700.06, THEA 4710.06 1992/93 THEA 3510.03 Honours students supervised THEA CTMP 2004/05 6 1 2003/04 6 2002/03 3 2001/02 1 2000/01 3 1997/98 1 1996/97 1 1995/96 2 Graduate theses supervised 2002 Colin Lake (MA in English): A Kind of Play Without Theatre : Theatre and Theatricality in the Novels of Robertson Davies 1998 Stephanie Mason (MA in English): A Strange Pig s Breakfast: The Use of Witty Metaphors in Tom Stoppard s Early Plays Class enrolments

THEA 1000 THEA 2011 THEA 2012 THEA 2900 THEA 3500 THEA 3510 THEA 3511 THEA 4700 THEA 4735 THEA 4900 THEA 4910 THEA 4931 Departmental average THEA 1000 THEA 2011 THEA 2012 THEA 2900 THEA 3500 THEA 3510 THEA 3511 THEA 4700 THEA 4735 THEA 4900 THEA 4910 THEA 4931 CTMP 2304 CTMP 3415 Total 2009/10 Acting Dean 2008/09 106 106 2007/08 93 26 22 130 2006/07 43 48 45 15* 27 119 2005/06 Sabbatical leave 2004/05 65 63 34 98 2003/04 63 61 18 21 90.5 2002/03 43 53 11 59 2001/02 60 66 12 75 2000/01 101 20 9 35 146.5 1999/00 48 13 21 16 63.5 1998/99 Sabbatical leave 1997/98 137 51 65 24 219 1996/97 78 39 45 22 28 145 1995/96 75 39 44 12 128.5 1994/95 54 42 40 13 20 111.5 1993/94 18 32 32 21 71 1992/93 16 32 36 11 61 *Summer class. Student evaluations 2009/10 Acting Dean 2008/09 4.9 4.4 2007/08 4.9 4.8 4.8 4.2 2006/07 4.9 5.0 4.9 4.8 4.4 2005/06 Sabbatical leave 2004/05 4.8 4.9 5.0 4.3 2003/04 4.9 4.9 4.8 4.2 2002/03 4.9 4.9 5.0 4.4 2001/02 4.9 4.9 4.7 4.4 2000/01 4.79 4.77 4.73 4.20

1999/00 4.85 4.75 4.89 4.80 4.20 1998/99 Sabbatical leave 1997/98 4.84 4.81 4.82 4.68 1996/97 4.71 4.60 4.71 4.72 4.75 4.53 1995/96 4.72 4.67 4.63 4.79 4.31 1994/95 4.43 4.74 4.68 4.76 4.65 4.11 1993/94 4.03 4.49 4.74 4.83 4.43 1992/93 4.07 4.62 4.99 4.13 Before 2001/2, Department of Theatre used its own evaluation forms. From then on, the new, standardized Dalhousie University student evaluation forms have been used. Yearly averages after that year are based on second-term means and calculated using the total of all nine numerical questions.