Tim Dugan – News /news Tue, 05 Nov 2024 16:39:44 +0000 en-US hourly 1 https://wordpress.org/?v=7.0.3 /wp-content/themes/b/bates-framework/styles/images/bates-favicon.png Tim Dugan – News /news 32 32 Q&A: You needn’t know Chekhov’s ‘Seagull’ to appreciate this ‘Stupid F**king Bird’ /news/2020/03/03/you-neednt-know-chekhovs-seagull-to-appreciate-this-stupid-fking-bird/ /news/2020/03/03/you-neednt-know-chekhovs-seagull-to-appreciate-this-stupid-fking-bird/#respond Tue, 03 Mar 2020 21:20:19 +0000 /news/?p=131358 Stupid F#@king Bird by Aaron PosnerSort of Adapted from The Seagull by Anton Chekhov CONRAD…….Max Younger ‘22DEV……David Garcia* ‘20MASH…Becca Kraft ‘20NINA….Sukanya Shukla* ‘20EMMA ARKADINA….Stine Carroll* ‘20DOYLE TRIGORIN….Matthew Engles ’20DR. EUGENE SORN….Kirk Read *This performance is offered in partial fulfillment of the requirements for a Senior Thesis/Capstone in Theater. Setting: The summer home of Emma Arkadina.Act One-By the lake. In the fall.Act Two-A realistic kitchen. A day later.Act Three-4 years later. Production StaffStage Manager….Luis David Molina Rueda ‘20Assistant Director….Kush Sharma ‘23When ֲý director Tim Dugan saw Aaron Posner's "sort of" adaptation of Chekhov's The Seagull, he says, “I was immediately blown away."]]> Stupid F#@king Bird by Aaron PosnerSort of Adapted from The Seagull by Anton Chekhov CONRAD…….Max Younger ‘22DEV……David Garcia* ‘20MASH…Becca Kraft ‘20NINA….Sukanya Shukla* ‘20EMMA ARKADINA….Stine Carroll* ‘20DOYLE TRIGORIN….Matthew Engles ’20DR. EUGENE SORN….Kirk Read *This performance is offered in partial fulfillment of the requirements for a Senior Thesis/Capstone in Theater. Setting: The summer home of Emma Arkadina.Act One-By the lake. In the fall.Act Two-A realistic kitchen. A day later.Act Three-4 years later. Production StaffStage Manager….Luis David Molina Rueda ‘20Assistant Director….Kush Sharma ‘23

The contrast in titles alone ought to tell you something.

On the one hand, there’s The Seagull, Anton Chekhov’s late 19th-century play, a tale of art and romance, striving and frustration, ripe with unexpressed thought and feeling.

And on the other, there’s the response: a stripped-down, soul-baring, fourth-wall-breaking 2013 play by Aaron Posner: Stupid F**king Bird.

Tim Dugan, assistant professor of theater, first saw the latter a few years ago in a production directed by Posner, at Philadelphia’s Arden Theatre (which the playwright also co-founded).

(Phyllis Graber Jensen/ֲý College)

Director Tim Dugan, assistant professor of theater, prepares for the play’s March 4 dress rehearsal in Schaeffer Theatre. (Phyllis Graber Jensen/ֲý College)

“I was immediately blown away,” says Dugan. “I was like, ‘I really want to direct this someday.’” And someday is now, as Dugan is directing the play’s ֲý premiere, .

Bird, Dugan says, “is very funny. The wit, the irreverence, the human folly — kind of like Chekhov — make it funny. Audiences tend to laugh a lot at these characters who are striving for something that is unattainable, because I think we see ourselves in that.”

How will this play speak to your students?

Four of the seven characters are younger, in their early 20s, and so it’s perfectly aged for our students. Also, the stakes and urgency of the scenes for these young people in the play are enormous. It’s really something you can sink your teeth into as an actor. It’s a great challenge.

Posner wrote something in his script acknowledgments that I was drawn to. He hails “all the fierce, fervent young artists who seem to be connecting with the passions, fears, frustrations, needs, hopes, and longings of the young artists of this play. Chekhov was really onto something! Keep striving. Keep discovering. Make better things! Make things better!”

(Phyllis Graber Jensen/ֲý College)

Sukanya Shukla ‘20 portrays Nina. (Phyllis Graber Jensen/ֲý College)

That, to me, is huge. For our students, I feel like this is an inspired call, and I want them to embrace this, because we all know, right now, the world is a challenging place.

This, to me, breathes life into hope and into that idea of making things better. He’s talking to young artists who will effect change, and that is a great entry point and connection to students today.

Why did The Seagull need a contemporary adaptation? Or did it?

I think it did. There’s a challenge in doing Chekhov today — it does feel a little musty at times. From what I’ve read about Posner, he loved Chekhov’s play. It was very inspirational to him, a play about a young playwright trying to find a voice and footing in this creative world. I mean, it is really hard to find success as an artist.

(Phyllis Graber Jensen/ֲý College)

David Garcia ‘20, playing the character Dev, performs a duet with Becca Kraft ‘20 as Mash. (Phyllis Graber Jensen/ֲý College)

So, I think there was a part of Posner that always felt attracted to that play, but then he was also frustrated and upset by boring productions or certain interpretations of it. What he has done is to bring The Seagull into the 21st century. It has breathed new life into people’s awareness of Chekhov.

Do we need to know The Seagull to appreciate Posner’s play?

If you haven’t read The Seagull, you will totally follow this play. If you have read The Seagull, there are a lot of delightful nods to Chekhov, and you’ll just enjoy it all the more.

This is a raw, gutsy play, and that’s what Posner’s known for. And he’s taken Uncle Vanya and Three Sisters by Chekhov and done similar plays.

(Phyllis Graber Jensen/ֲý College)

The cast gathers for a 60th birthday celebration. (Phyllis Graber Jensen/ֲý College)

Posner started out adapting novels for theater, quite reverentially, and that was his thing. And then he found, through Chekhov especially, this sort of adaptation that’s more irreverent — he talks about even subverting or perverting the plays.

So something that I’ve been hanging my hat on as a director is this idea that this play is not an adaptation. It’s built on the bones of Chekhov’s Seagull, but it really is Posner’s own play.

Success vs. failure as an artist is a major theme in both these plays.

Bird is about an aspiring theater artist named Con. He is rampaging against the status quo and striving for new forms.

His mother, Emma, is a famous actress who represents traditional theater and movies, and Con thinks all that is a lot of crap. It’s really his unresolved issues with his mother that fuel that.

It just so happens that his mother is together with a very celebrated writer named Trigorin, who is a rock star of the literary and screenwriting worlds. So they are a power-celebrity couple, and that’s just another poke at Con for his inability to measure up.

two actors looking into the distance

Stine Carroll ’20 portrays Emma Arkadina and Matthew Engles ’20 is Doyle Trigorin. (Phyllis Graber Jensen/ֲý College)

But at the heart of it, this is a play about love and unrequited love. There’s a quartet of unrequited lovers happening throughout the play, and that’s very much inspired by The Seagull.

So Posner is working similar themes as Chekhov, but he moved the action into our time, and streamlined the cast and the plot, and added music. What else has he changed?

In both plays there’s a huge meta-theatrical level — these are plays about a theater artist and actors and actresses. But what Posner does, right from the first line, is to break the fourth wall. Every character has a moment where they get to acknowledge and interact with the audience.

(Phyllis Graber Jensen/ֲý College)

Sukanya Shukla ‘20, as Nina, “breaks the fourth wall” and addresses the audience. (Phyllis Graber Jensen/ֲý College)

The characters know they’re in a play. And they’re asking for the audience’s help in their particular situations, so they’re asking questions of the audience.

So every performance could be a little different, because we don’t know what the audience is going to say, which is exciting.

Sounds like Posner is actually wielding the kind of breakthrough that Con and Konstantin, in The Seagull, aspire to.

There’s an image of Chekhov on the wall at one point, and Con says, “Thank you and f**k you” — he reveres and tears down at the same time, and that’s the nature of this play.

And that’s why it’s great for an actor. It’s a great challenge, but you are out there airing all of the subtexts you have about how you feel. So big emotions, big stakes, big energy.

(Phyllis Graber Jensen/ֲý College)

Max Younger ‘22 plays Conrad as a portrait of Anton Chekhov is projected in the background. (Phyllis Graber Jensen/ֲý College)

Whereas what Chekhov introduced and what made him so important in theatrical history was that he was the first playwright to really build a lot of inner life into his characters.

Two years ago, for your directing debut at ֲý, you did Angels in America. One of your actors was Kirk Read, professor of French and francophone studies, who played the infamous Roy Cohn. And now he’s back for Bird.
(Phyllis Graber Jensen/ֲý College)

Professor of French and Francophone Studies Kirk Read as Dr. Eugene Sorn. (Phyllis Graber Jensen/ֲý College)

Which is great. He’s playing Sorn, the older brother who is a doctor, turning 60, and he has lived life on the sideline. He’s really fascinated by these young people who are feeling all of these big feelings. He has some wonderful direct-address monologues with the audience. It’s been delightful having him onboard again.

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Q&A: Director Tim Dugan on the racial tension and theatrical ethics of ‘We Are Proud to Present’ /news/2019/03/07/qa-director-tim-dugan-on-we-are-proud-to-present/ /news/2019/03/07/qa-director-tim-dugan-on-we-are-proud-to-present/#respond Thu, 07 Mar 2019 20:20:32 +0000 /news/?p=122627 "If people say that the play feels improvised, that to us is a success," says Dugan, a ֲý theater professor and director of We Are Proud to Present.]]>

Equipped with letters from German soldiers in Africa, some Wikipedia research, and hearts full of good intentions, three black and three white actors attempt to devise a play about the 20th century’s first genocide.

That precarious process and its explosive outcome drive a 2012 play — a play about a play — comprehensively titled We Are Proud to Present a Presentation About the Herero of Namibia, Formerly Known as South West Africa, From the German Südwestafrika, Between the Years 1884–1915.

At the end of the March 6 dress rehearsal, a physically and emotionally spent cast takes a bow in Gannett Theater. From left, Perla Figuereo '21, Jack Willis '19, MIchael Driscal '19, Oaklea Elfstrom '21, Losseni Barry '22, and Ethan Winglass '19. (Phyllis Graber Jensen/ֲý College)

Ethan Winglass '19, performing in partial fulfillment of his senior theater thesis requirements as Actor 1/White Man, terrorizes Michael Driscal '19 as Actor 2/Black Man. (Phyllis Graber Jensen/ֲý College)

Assistant Professor of Theater Tim Dugan directs Stupid F*cking Bird, an adaptation of Chekov's The Seagull, in March. (Phyllis Graber Jensen/ֲý College)

Jack Willis '19 plays the role of Actor 3/Another White Man in partial fulfillment of the requirement for a senior thesis in theater. (Phyllis Graber Jensen/ֲý College)

Losseni Barry '22 as Actor 4/Another Black Man and Michael Driscal '19 as Actor 2/Black Man confront the task of presenting an undocumented historical past. (Phyllis Graber Jensen/ֲý College)

The critically esteemed debut of playwright Jackie Sibblies Drury, the play is a boundary-busting tour de force whose dissections of racial tension and theatrical ethics pose a formidable challenge for its actors.

And the play, nicknamed We Are Proud to Present, is also the mainstage production .

Directing We Are Proud to Present at ֲý is Assistant Professor of Theater Tim Dugan — who, when asked what drew him to the play, , who says that a playwright has “the luxury of not having to have one thesis. Instead you can have a matrix of questions.”

Perla Figuereo ’21, Jack Willis ’19, Michael Driscal ’19, and Oaklea Elfstrom ’21. (Phyllis Graber Jensen/ֲý College)

For Dugan, “that has been my lead as a director — my way in — knowing that I want to build a story so that matrix of questions can proliferate in the most dynamic way for the audience.

“And it’s okay to not have the answers to all of them.” (Although, he adds, ֲý staff and faculty will join Dugan and his actors to continue the quest for answers in talkbacks after each performance.)

We talked to Dugan about acting the part of an actor, breaking the fourth wall between performers and audience, and the challenges of depicting racial conflict on stage.

What else attracted you to We Are Proud to Present?

This is very much an ensemble piece. It’s about six actors devising a play, three African American and three white. They all love what they do, they love each other, but they’re trying to tackle this topic that is incredibly challenging, the genocide of the Herero tribe in Namibia.

Assistant Professor of Theater Tim Dugan addresses actors at the end of the final dress rehearsal. (Phyllis Graber Jensen/ֲý College)

 

Whenever I do theater work, building ensemble is my first priority. So for that to be an integral part of this story — I was just fascinated by that process, and Drury has some fun at looking at that. There’s a lot of humor to be had about theatrical practice, about egos in the theater.

The play is about an actual genocide.

These young, passionate, accomplished theater artists are trying to create an original work about the genocide of the Herero people by the Germans. They’re really well-intentioned and they’re trying to shed light on this. And this play really succeeds in that, because a lot of people haven’t heard of this genocide.

Losseni Barry ’22 and Michael Driscal ’19. (Phyllis Graber Jensen/ֲý College)

And we see them struggle with how to tell this story, because the only materials they have are letters from German soldiers [and] some Wikipedia research — they haven’t done a real deep dive into research.

Some of the actors start arguing, “Well, where’s the Herero side? Where do we get that story?” Others argue, “Well, if we want to tell it honestly, we should really only use what’s really there, which is the letters.”

That escalates, and about midway through the play, it pivots to a point of leaving the genocide in Africa and moving towards race in America.

Jack Willis ’19 with Michael Driscal ’19 and Losseni Barry ’22. (Phyllis Graber Jensen/ֲý College)

There’s a series of scenes where you will recognize images from current news. That’s another reason why this play is really powerful. I wanted to do it because it raises a whole bunch of questions about how we talk about race in this country.

That’s really good for our students, and the play does so in a way that’s not didactic or condescending.

Good for the students, but probably challenging too.

The plot is asking a lot of the fictional actors. And it’s asking a lot of the actors here at ֲý because they have to depict some really ugly moments of human behavior in regard to race and racist actions in this country.

What I have seen is how different moments of the play, especially in first passes through the script, have affected students — when they’ve had to say that horrible thing for the first time or they had to listen to that thing for the first time. When we’ve done one of those scenes and the actors have had to look at each other, you can see the racial issues around it humanized.

Losseni Barry ’22 and Oaklea Elfstrom ’21 share a painful moment. (Phyllis Graber Jensen/ֲý College)

Those were really hard but necessary moments to have in the process. This kind of work has certainly brought this group of students together, and they’re flourishing as an ensemble.

ֲý strives to prepare students for success in a multicultural world. Does this play support that goal?

That’s one of the reasons I did the play: It really does. Sometimes when we talk about these issues we can get self-conscious, or we’re not sure how to talk about it. “If I react a certain way does that mean I’m this [type of person]?”

Because these students are walking in the shoes of these characters, I’m sure those skills that they’re having to negotiate and navigate through are preparing them for that.

The play breaks boundaries in a dynamic way, and one example is the boundary between developing a play behind closed doors and then performing it. How does that work here?

I love the structure of this play. It bops back and forth between scenes that Drury labels Process and Presentation. It turns on a dime. There’s 10 of each. I love this idea of just watching this troupe in rehearsal — you’re like a fly on the wall — and then, boom, they’re acknowledging the audience, doing a scene that they’ve created through improvisation.

Ethan Winglass ’19 as Actor 1/White Man terrorizes Michael Driscal ’19 as Actor 2/Black Man. (Phyllis Graber Jensen/ֲý College)

Another boundary that gets broken is the audience expectations from coming into a show. We’re going to mess with that in a really exciting way. Not to make anyone nervous — it’s not an interactive thing where you get pulled up on stage — but the actors are going to be quite close to the audience at times. And audience members will see each other a lot in this play.

And so your actors have to portray both sides of a persona: the actor creating a part and then performing it. How do they make that difference clear?

When they’re in Process, they can’t look like they’re acting. There are multiple conversations, there are interruptions. All of those Processes are totally scripted — that’s something brilliant about Drury’s work. It feels like it’s not, and it is.

Michael Driscal ’19 with Perla Figuereo ’21. (Phyllis Graber Jensen/ֲý College)

It’s got to feel like we’re not acting, but at a rehearsal. It requires the actors to deeply listen to each other — they really need to know their cutoffs. Some of them just have one- or two-word intrusions like “Yeah, but —” or “Guys!” It’s like music. If you miss the beat, that’s going to throw it off. We’re really trying to delineate those two worlds.

We have to make a sense of ease around that as much as possible, and that takes a while. So it’s been a bit of dialing down some moments that get a little act-y. If people say that the play feels improvised, that to us is a success.

At the end of the March 6 dress rehearsal, a physically and emotionally spent cast takes a bow in Gannett Theater. From left, Perla Figuereo ’21, Jack Willis ’19, MIchael Driscal ’19, Oaklea Elfstrom ’21, Losseni Barry ’22, and Ethan Winglass ’19. (Phyllis Graber Jensen/ֲý College)

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Q&A: Tim Dugan on Angels in America, 25 years after Broadway debut /news/2018/03/08/qa-tim-dugan-on-angels-in-america-25-years-after-broadway-debut/ /news/2018/03/08/qa-tim-dugan-on-angels-in-america-25-years-after-broadway-debut/#respond Thu, 08 Mar 2018 18:14:28 +0000 /news/?p=113610 Theater professor Tim Dugan felt that a ֲý College production of Angels in America "would be embraced and celebrated." He was right.]]> “In our department, there’s great freedom of choice as a director,” says Timothy Dugan, assistant professor of theater. “We’re able to suggest to the department what we would really like to see.” And what he really wanted to see, Dugan told his theater colleagues last fall — just a few weeks into his first semester here — was ֲý presenting one of the pinnacles of 20th-century theater: Angels in America: Millennium Approaches. The play is the first in playwright Tony Kushner’s duology Angels in America: A Gay Fantasia on National Themes. The plays grapple with love, religion, politics, community — and, especially, with the medical-cultural terror that was the spread of HIV–AIDS in the 1980s. (The second play is AIA: Perestroika.)

Shown during a March 7 dress rehearsal, Assistant Professor of Theater Tim Dugan is the director of the ֲý production of Angels in America: Millennium Approaches. (Phyllis Graber Jensen/ֲý College)

The travails of two couples on the rocks drive the plot, wrapped in magical realism and embellished with the savvy fictionalizing of historic figures. But in essence, as the title suggests, the topic of Millennium Approaches is both dead simple and unfathomably complicated: the feeling that everything’s about to change. The play debuted on Broadway, and received Pulitzer and Tony awards, in 1993 (in which year, the World Health Organization estimated, there were 2.5 million cases of AIDS globally). In 2018, the 25th anniversary of Millennium Approaches’ Broadway debut, it’s appearing in a number of revivals — including that, under Dugan’s direction, opened March 8 and continues through the 12th. A series of supporting events (titled The Great Work Begins, after a key phrase from the play) began in February and included research presentations by scholars and students. Impressed from the start by the campus’ openness to robust ideas, Dugan says, “I felt like this was something that would be embraced and celebrated. And it has been.”
The play is set in 1985. How is it still relevant?

John Dello Russo ’18 plays Louis Ironson and Ethan Winglass ’19 plays Joe Pitt in Angels in America: Millennium Approaches. (Phyllis Graber Jensen/ֲý College)

Certainly there has been progress in LGBTQIA+ rights since 1985, when AIDS wasn’t even acknowledged yet as a national epidemic. But, absolutely, this play still resonates today. One of the characters is Roy Cohn, based on the powerful lawyer. The role isn’t biographical to a T, but we all know that Roy Cohn was President Trump’s lawyer at one point. Certainly you could [view] the playbook that Cohn used to get what he wanted as something that our president has been inspired by and uses to this day. Just a few weeks back, Trump said, “Where’s my Roy Cohn?” in a press conference. I think Tony Kushner is capturing something a lot of people are wondering about, how we’re questioning democracy in some ways right now. Kushner is an incredible political writer, and he makes no bones about that.
What is Kushner’s overriding theme in Angels in America, do you think?
I think he’s asking us to embrace change. The characters in this play are faced with enormous and often unendurable circumstances. They begin the play in crisis.

Nate Stephenson ’18 portrays Prior Walter. (Phyllis Graber Jensen/ֲý College)

We follow Prior Walter, who has been diagnosed with AIDS and then is abandoned by his lover. Prior is the prophet that an angel has come to reckon with. And through him, Kushner gives us this idea that we can resist change — and if so, the consequences will be quite dire — or we can embrace change. Change can be extremely painful and difficult, but in Kushner’s view, it’s necessary. The play also asks, “What does it mean to be an American?” Because, you know, the play is about so many things — race, spirituality, religion, sexuality. And Kushner uses the AIDS crisis as a lens to ask those questions. What has it taught us about being Americans? How have we been, or not been, there for each other in this situation? Now more than ever, that question — certainly for myself and certainly for students — has been one we’ve really been digging into and grappling with.
How do you bring your student actors up to speed with the mid-1980s context?
We’re very fortunate to have two student dramaturges on board, Alison Greene ’20 and Luc Alper-Leroux ’20, to do research, and it’s quite extensive with this play. We have a Google folder that the whole cast and crew are invited to, and that’s an enormous aid for all of us, because there are so many historical, religious, and philosophical references in the play.

A dramatic peak in the Angels story. (Phyllis Graber Jensen/ֲý College)

I have a good friend who works for Actors Theater of Louisville, which produced both parts of Angels last October. Their resident dramaturge did an interview with Alison and Luc — we had a great phone conference — and shared some of her ideas, which illuminated the play for us in an exciting way. And what’s great about doing it here at ֲý is that we’re surrounded by de facto dramaturges. For example, politics professor Stephen Engel [a national authority on American political development and social movements, particularly involving LGBTQ issues] came to a rehearsal of a scene that was talking about different political movements in the ’80s, as Roy and his sidekick Martin Heller are trying to persuade another character to join them. So we were able to unpack it that way. It was wonderful.
How do you drive home to students the sheer emotional and cultural weight of AIDS and HIV in the 1980s?
That’s been one of the most important, and most challenging, parts. I saw the original production in New York — I was working for a theater downtown, and I used to walk through the Village, and there was something in the atmosphere. You could see it passing people on the street.

Hello, angel: Prior Walter receives a visitor, played by Sofia Elbadawi ’18. (Phyllis Graber Jensen/ֲý College)

To try to capture that for students, we’ve spent a lot of time in dialogue about it, frankly. We’ve immersed ourselves in video clips and other information, and the Great Work Begins series was also designed for all of us to embrace as a cast and crew. We’re just trying to get to the depth, trying to honor those people who endured that, survived that, died in that.
Timothy Dugan, assistant professor of theater, discusses why a liberal arts college like ֲý is the ideal setting for a production of “Angels in America: Millennium Approaches”.
Could you talk a bit more about the department’s support for this project?
I sincerely appreciate their embrace of it because it is a challenging play. Not only for the cast — the play’s three hours long — but technically. Act III is all ghosts appearing and then vanishing, and this great book emerges out of the floor and bursts into flames, and then goes away. You read that in the stage directions, and you have to laugh and say “Come on, Mr. Kushner” — because he also says, “All in 30 seconds.” And, oh, yeah — there’s an angel that cracks through the ceiling of Prior’s apartment, descends, and has the last final moment. How do you pull that off? There are so many creative problems to solve, and the department has been totally game.
The actress playing Harper Pitt, Hope French ’18, has undertaken the part for an honors thesis, which will include a written component as well as the performances. Tell us a bit about how she prepared for the role.

Hope French ’18 portrays Harper Pitt as part of her honors thesis in theater. (Phyllis Graber Jensen/ֲý College)

Harper is the wildly imaginative, Valium-popping, hallucination-prone, and terribly lonely wife of Joe Harper. Their marriage is falling apart throughout the play as they confront both Joe’s sexuality — he’s coming out — and their love for one another.

Hope passionately immersed herself in these complex, hugely emotional realms of the role and the world of the play, and did extensive research, both into the socio-historical context and her own portrayal. She’s been incredibly enthusiastic and receptive toward exploring different approaches to creating a character. We spent last semester delving into the Michael Chekhov Technique, a psycho-physical approach to acting that emphasizes the use of imagination as a way in for an actress, and she experimented with applying that to this role, which is really one of the emotional centers of Angels in America.   

Hope brings a professionalism to her work that is beyond her years, which is inspiring to witness.

And your casting choice for Cohn may surprise many ֲýies: Kirk Read, professor of French and francophone studies.
I knew from the beginning that I’d love to have someone older than a student in the Roy Cohn role. I got to know Kirk during new faculty orientation and we hit it off immediately. When I was thinking about this, I said, “All right, what the hell?” So I kind of bothered him for a while, and then he graciously accepted. And he said from the beginning, “Treat me like anyone else.” His commitment is amazing.

Kirk Read, professor of French and francophone studies, plays the role of Roy Cohn, based on the real lawyer. He’s shown with Ethan Winglass ’19. (Phyllis Graber Jensen/ֲý College)

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A place of ‘freedom and support’: ֲý welcomes new tenure-track faculty /news/2017/09/21/new-tenure-track-faculty/ /news/2017/09/21/new-tenure-track-faculty/#respond Thu, 21 Sep 2017 13:01:30 +0000 /news/?p=109756 Meet the new tenure-track faculty for 2017–18 at ֲý College.]]>

Among the 10 tenure-track faculty and Mellon Diversity and Faculty Renewal Fellows joining ֲý this year are a cell biologist focusing on neurobiology, a philosopher who critiques research into cognition, an economist focused on development in Africa, and a scholar of Renaissance English and Spanish literature.

Part of a high tide of faculty hires, they’ve arrived with impressive research and thoughtful teaching philosophies, a desire to bring students into their scholarship, and the excitement of working in a liberal-arts environment at ֲý.

Click their titles below to meet them.

+Andrew Baker, Lecturer in History, and Mellon Diversity and Faculty Renewal Postdoctoral Fellow

Name: Andrew Baker

Position: Lecturer in History, and Mellon Diversity and Faculty Renewal Postdoctoral Fellow*

Degrees from: Harvard University, Ph.D. and A.M.
Yale University, A.B.

His work: Baker’s focus as a historian is 19th-century America, notably the South during the Civil War and its aftermath, including Reconstruction and the advent of Jim Crow. Specifically, he researches New Orleans around the end of the 19th century. As a child Baker was fascinated by the Civil War; now, he says, “I’ve become more interested in how the tensions that created the Civil War were so fundamentally unresolved by the conflict.”

What he loves about his work: “The great thing about history is that there are so many pieces of evidence that you can use to construct stories and figure out what your characters were thinking, what they were doing, what they were feeling. As a historian, I enjoy that ability to think about characters, and how they fit together in communities, and how communities become countries.”

Why teach? “My experience as an undergrad was one of trying to find myself. I want to pay back the people who opened my mind, taught me how to read in ways that I didn’t know when I started. Teaching is a great opportunity to do that — to point students in directions that might be exciting for them and might give them a new way of thinking about the world.”

Why ֲý? “ֲý has always been a place that has tried to figure out the right thing to do. With regard to gender, race — these kinds of key social issues — ֲý has been ahead of its time. To me, being on the right side of history is about as good as it gets from an institutional standpoint.”

*Mellon Diversity and Faculty Renewal Postdoctoral Fellows become tenure-track assistant professors in their second year at ֲý.

Andrew Baker, lecturer in history and Mellon Diversity and Faculty Renewal Postdoctoral Fellow, says that "with regard to gender, race, these kinds of key social issues, ֲý has been ahead of its time." (Theophil Syslo/ֲý College)

A lecturer in history and a Mellon Diversity and Faculty Renewal Postdoctoral Fellow, Andrew Baker says that “with regard to gender, race — these kinds of key social issues — ֲý has been ahead of its time.” (Theophil Syslo/ֲý College)

+Luke Chicoine, Assistant Professor of Economics

Name: Luke Chicoine

Position: Assistant Professor of Economics

Degrees from: University of Notre Dame, Ph.D. and M.A.
University of Washington, B.S.

Before ֲý: DePaul University, Assistant Professor of Economics

His work: Chicoine works in development economics, focusing on issues relating to healthcare and accumulation of human capital in sub-Saharan Africa. A major focus is on evaluating the long-term effectiveness of education reforms that have helped move millions of children into classrooms. Chicoine’s field work includes a project in Uganda that was recently accepted by the journal World Development: Unpredictable staff attendance at many public clinics makes the decision to seek healthcare, which often means walking to the local clinic, increasingly costly. Chicoine’s project worked with local staff to text-message members of the community when clinic services were available. This measure increased the use of healthcare services and reduced illness.

Finding his path: Chicoine started out wanting to “improve living standards for the very poorest,” he says. “As an undergraduate I wanted to work with an international development organization; I spent much of my time in college exploring which disciplines provided the necessary skills. I came to the conclusion that I needed to learn the analytical tools to differentiate between what’s working and what’s not, and I realized that economics was the path I wanted to follow.”

Why study economics? “Economics is the study of people and why they make the decisions that they do,” Chicoine says. “In economics, we view each decision as a rational trade-off between costs and benefits, and we use economic frameworks to understand the incentives that lead to the outcomes witnessed in our often confusing world.” For non-majors, he adds, economics affords “a tool set for analyzing decisions that you can apply to any topic.”

Luke Chicoine, assistant professor of economics, focuses on issues relating to healthcare and accumulation of human capital in Africa. (Theophil Syslo/ֲý College)

Luke Chicoine, assistant professor of economics, focuses on issues relating to healthcare and accumulation of human capital in Africa. (Theophil Syslo/ֲý College)

+Michael Dacey, Assistant Professor of Philosophy

Name: Michael Dacey

Position: Assistant Professor of Philosophy

Degrees from: Washington University in St. Louis, Ph.D. and M.A.
Wesleyan University, B.A.

Before ֲý: Colby College, Faculty Fellow in Philosophy

His work: The philosophy of science scrutinizes the purposes and methods of science, and Dacey applies those concerns to cognitive science. He studies the relationships among the several disciplines that inform the field, with a particular interest in research involving non-human animals.

Dacey also examines the conceptual foundations for scientific inferences, “trying to figure out what inferences from an experiment are actually legitimate and which ones aren’t.” He has studied the implications of such thought habits as anthropomorphism, mental associations, and parsimony, or the principle that the simplest explanation for a phenomenon is likely correct. “Can we come up with a story about why the simpler theory is actually better?”

Finding his path: Setting out to major in physics, Dacey found himself waylaid by philosophy — yet physical science remained compelling. “I just like to figure out how things work,” he says. “That means staying tied to the concrete ideas that you get from looking at exactly what the studies are doing, and whether the discussion section actually follows from what happened in the methods section.”

Why study philosophy? Like the liberal arts education itself, philosophy teaches reasoning and close attention to text. And, Dacey says, “Many of the questions discussed in philosophy are important things for people to be able to think about a bit from time to time.”

Why ֲý: “The philosophy department here is fantastic. Extremely nice, very dedicated to what they do, excellent philosophers.” Dacey notes, “My classes are basically full — new courses taught by a new person.” That level of interest in philosophy “is a testament to the strength of the ֲý philosophy department.”

Michael Dacey, assistant professor of philosophy, scrutinizes the purposes and methods of cognitive science. (Theophil Syslo/ֲý College)

Michael Dacey, assistant professor of philosophy, scrutinizes the purposes and methods of cognitive science. (Theophil Syslo/ֲý College)

+Timothy Dugan, Assistant Professor of Theater

Name: Timothy Dugan

Position: Assistant Professor of Theater

Degrees from: Temple University, M.F.A.
Union College, M.A.T.
State University of New York at Oswego, B.A

Before ֲý: The University of the Arts, Senior Lecturer
Temple University, Adjunct Professor

His work: A member of Actors’ Equity and SAG-AFTRA, Dugan is an actor and director who teaches both disciplines. His acting credits include a long list of stage roles across a broad range of genres, and he just finished his 11th season at the five-week summertime Saratoga Shakespeare Company, where he is associate artistic director and education director.

Finding his path: Dugan discovered theater in his junior year in a playwriting class taught at Oswego by Brad Korbesmeyer. “He just illuminated this world of theater, and I found myself totally knocked out by it. That started my path to where I am today. And I am still friends with him.”

What he loves about the work: “Theater aligns itself wonderfully to the liberal arts, because what we do all the time is to ask what it means to be human,” Dugan says. “In the work, I discover a lot about myself — areas in which I flourish, areas in which I’m afraid, habits that rear up. I started being really curious about all this discovery because it’s an ongoing process.”

Why study theater? Trained in the Stanislavski method, Dugan sees a role for Stanislavski’s “magic if” in the liberal arts education. Actors learn to ask themselves what they’d do if they were in their characters’ circumstances: That cultivates a capacity for empathy that enriches all manner of interactions.

In addition, he says, theater gives students “the ability to communicate in public and the ability to collaborate,” he says. “Those skills are invaluable — certainly in the 21st-century skill set.”

Assistant Professor Theater Timothy Dugan is also associate artistic director and director of education at the Saratoga Shakespeare Company. (Theophil Syslo/ֲý College)

Assistant Professor Theater Timothy Dugan is also associate artistic director and director of education at the Saratoga Shakespeare Company. (Theophil Syslo/ֲý College)

+Michelle Greene, Assistant Professor of Neuroscience

Name: Michelle Greene

Position: Assistant Professor of Neuroscience

Degrees from: Massachusetts Institute of Technology, Ph.D
University of Southern California, B.S

Before ֲý: Stanford University, Department of Computer Science, Research Scientist

Her work: Greene researches human vision. Specifically, she studies how we perceive scenes, as opposed to smaller components of an image, and she then seeks to synthesize her research findings through mathematical modeling.

Tell us more: Greene takes a three-pronged approach to the work. Tracking the eye movements of human subjects as they view test imagery on monitors, she makes psychophysical measurements — as she puts it, “the limits of what people can perceive,” in terms of factors like contrast, color values, and particularly the length of time needed to perceive an image. Second, with an EEG, she measures brain activity in relation to the vision tests. With the third element, the mathematical modeling, she takes “what we’ve learned in both the behavior and the brain, and tries to synthesize it, explain it, and predict future behavior.”

Why teach? One reason involves ways to do good in the world, Greene says. At a place like ֲý “you get to really engage with the students in a more one-on-one setting; you touch hundreds of lives over the course of a career; and you have the chance to teach them how to think, how to be critical of the information in their lives.”

How does she teach? Working in a field that studies how the brain handles information, Greene says that “there’s a lot of data on how to learn better. A lot of it comes down to very simple things: getting your hands into it, manipulating real data, doing real problem sets. I’m particularly attracted to the smaller classes at ֲý because we can do that in a very honest way.”

Equipped with a new lab in Hathorn Hall, Assistant Professor of Neuroscience Michelle Greene studies visual perception. (Theophil Syslo/ֲý College)

Equipped with a new lab in Hathorn Hall, Assistant Professor of Neuroscience Michelle Greene studies visual perception. (Theophil Syslo/ֲý College)

+Martin Kruse, Assistant Professor of Biology and Neuroscience

Name: Martin Kruse

Position: Assistant Professor of Biology and Neuroscience

Degrees from: University of Hamburg, Germany, Ph.D. and Diploma (equivalent to B.S. and M.S.)

Before ֲý: University of Washington, Department of Physiology and Biophysics, Acting Instructor

His work: Kruse describes himself as “a cell biologist with a very strong interest in neurobiology.” Broadly interested in processes that control the activity of nerve cells, he focuses on the role of lipids and specifically phosphoinositides — a small family of lipids with a disproportionately large influence on nerve cellular activity. “Using biochemical and cell biological methods, I try to understand how the lipids regulate nerve cells, and how the levels of the lipids themselves are regulated.”

Students in the lab: Three thesis students are participating in Kruse’s research this academic year. One will use a patch clamp amplifier to record how cellular electrical activity changes as lipid levels are altered. The other students will focus on cell lines useful in the research: One student will work with Kruse on a line developed at the Salk Institute for Biological Studies in San Diego, and the other, using the genome editing technology called CRISPR/Cas9, will help develop a whole new line.

Why ֲý? “I was immediately intrigued by the strong collaborative aspect between all the faculty and the different disciplines,” he says. “And the strong focus that ֲý puts on both research and teaching is extremely valuable and interesting for me. It is expected that you are extremely good at both, but you are also given such a wealth of support to be a good teacher and to be a good scientist.”

Burning ambition: Kruse served for five years as a volunteer firefighter in his native Germany. There, unlike the U.S., most firefighters are volunteers, with professionals serving primarily in big-city departments.

Once a volunteer firefighter in his native Germany, Martin Kruse is assistant professor of biology and neuroscience at ֲý. (Theophil Syslo/ֲý College)

Once a volunteer firefighter in his native Germany, Martin Kruse is assistant professor of biology and neuroscience at ֲý. (Theophil Syslo/ֲý College)

+Geneva Laurita, Assistant Professor of Chemistry and Biochemistry

Name: Geneva Laurita

Position: Assistant Professor of Chemistry and Biochemistry

Degrees from: Oregon State University, Ph.D.
University of Northern Colorado, B.S.

Before ֲý: University of California, Santa Barbara, Materials Research Laboratory, Postdoctoral Scholar

Her work: A solid-state chemist, Laurita has a particular interest in how a material’s structure relates to its behavior. Concentrating on materials with energy and electronic applications, she explores “what is the structure of a material, how do the atoms interact with one another, and how does that give rise to physical properties — for example, how does it conduct electricity or interact with light? Then we take that information to try to figure out how to manipulate atoms to drive certain properties.”

Get the lead out: In a recent project, Laurita analyzed photovoltaic materials to better understand the performance-enhancing role played by lead. “We’re interested in learning what chemistry makes lead so special, so that we can look for an alternate chemistry that would have the same properties, but without lead’s toxicity.”

Finding her path: Chemistry captivated Laurita as an undergrad. She got an opportunity to work with neutron scattering, an analytical technology, at the National Institute of Standards and Technology facility in Gaithersburg, Md. “I went there as a junior, pretty fresh-faced, but it was hugely influential,” she says. “That’s why I’m doing the science that I’m doing today.” She adds, “One of my big goals at ֲý is to provide those transformative research experiences that get students excited about asking questions, doing the research, and being in the science. This is a perfect place to do that.”

The real world: “Something that really influenced me is tying my work to real-world applications,” she says. She seeks to “expose my students to why this chemistry matters. ‘We’re working on real-world problems, and we’re using the things that you’re learning today to try to solve these problems.’”

Geneva Laurita, assistant professor of chemistry and biochemistry, studies the relationships between structure and properties in solid-state materials. (Theophil Syslo/ֲý College)

Geneva Laurita, assistant professor of chemistry and biochemistry, studies the relationships between structure and properties in solid-state materials. (Theophil Syslo/ֲý College)

+Jacqueline Lyon, Lecturer in Anthropology, and Mellon Diversity and Faculty Renewal Postdoctoral Fellow

Name: Jacqueline Lyon

Position: Lecturer in Anthropology, and Mellon Diversity and Faculty Renewal Postdoctoral Fellow*

Degrees from: Florida International University, Ph.D.
DePaul University, B.A.

Her work: “Anthropology has a unique methodology that’s centered in people’s experiences and how they feel about them, what they have to say about them,” Lyon says. “Anthropology is especially suited to balancing continued engagement with communities outside the academy with scholarship and teaching.” She studies intersections of race and citizenship in Latin America and the Caribbean. Of Puerto Rican descent, Lyon says she “was looking for a way to be able to highlight the experiences of communities like my own.”

First-gen: Lyon is the first from her family to attend college. With no family experience of higher education to draw on, she was on her own when it came to understanding things like academic requirements and financial aid. Application essays presented their own insidious challenge: “I didn’t grow up in that sort of environment where you were taught to advocate for yourself or promote yourself.”

Why teach? “My best teachers pushed me and believed that I was capable of performing at a higher level than I thought I was capable of,” says Lyon. “Seeing what good mentorship looks like, what it can do, and knowing how important that has been in my own experience has compelled me to be a teacher.” But she’s also passionate about teaching “specifically about race — how students are going to confront racial issues, how they’re going to think about race, how they’re going to challenge racism.” That kind of passion is “contagious,” she says.

Why ֲý? “What has been most exciting is the amount of freedom given to faculty to design and propose courses that they really care about. Also, there’s so much freedom and support for exploring different ways of teaching.”

*Mellon Diversity and Faculty Renewal Postdoctoral Fellows become tenure-track assistant professors in their second year at ֲý.

Lecturer in anthropology and Mellon Diversity and Faculty Renewal Postdoctoral Fellow, Jacqueline Lyon researches intersections of race and citizenship in Latin America and the Caribbean. (Theophil Syslo/ֲý College)

Jacqueline Lyon, a lecturer in anthropology and a Mellon Diversity and Faculty Renewal Postdoctoral Fellow, researches intersections of race and citizenship in Latin America and the Caribbean. (Theophil Syslo/ֲý College)

+José Villagrana, Lecturer in English, and Mellon Diversity and Faculty Renewal Postdoctoral Fellow

Name: José Villagrana

Position: Lecturer in English, and Mellon Diversity and Faculty Renewal Postdoctoral Fellow

Degrees from: Northwestern University, B.A.
University of California, Berkeley, Ph.D.

His work: Villagrana researches 16th- and 17th-century English and Spanish literature, with a focus on apocalypticism. That is, he explores how English poets and professional writers fashion themselves as prophets, calling attention to the perceived apocalyptic threat of Spanish ethno-cultural miscegenation. “By doing so,” he explains, “they thread through lyric poetry, drama, epic — all the major literary traditions and forms of English literature — a kind of apocalyptic Hispanophobia.”

What he loves about his work: Among other things, early modern English literature is funny, Villagrana says. “We typically tend to think of this language as impenetrable and quite serious because of its archaic nature, but in actuality, it’s full of witticisms and meta-reflective material that makes it enjoyable and outright hilarious.”

The liberal arts: Prior to his hiring, Villagrana attended a 2015 conference at ֲý held by the Creating Connections Consortium, a national initiative working to diversify the professoriate. As an undergraduate at Northwestern, he felt he was getting something like a liberal arts education — yet at the ֲý conference, he was deeply impressed “by the mission-oriented work that ֲý and its sister colleges in the consortium are undertaking, and precisely what kind of impact that has on the students. That prompted me to apply only to liberal arts colleges.”

Not your grandad’s English lit: Nowadays, Villagrana says, “students and researchers have unprecedented access to digitized records from the early modern period. I eagerly look forward to the opportunity of working with students to learn exactly what to do with this kind of knowledge. In my introductory and 200-level courses, students will be asked to do this straight away.”

*Mellon Diversity and Faculty Renewal Postdoctoral Fellows become tenure-track assistant professors in their second year at ֲý.

Lecturer in English and a Mellon Diversity and Faculty Renewal Postdoctoral Fellow at ֲý, José Villagrana studies early modern literature of England and Spain. (Theophil Syslo/ֲý College)

A lecturer in English and a Mellon Diversity and Faculty Renewal Postdoctoral Fellow at ֲý, José Villagrana studies early modern literature of England and Spain. (Theophil Syslo/ֲý College)

+Julieta Yung, Assistant Professor of Economics

Name: Julieta Yung

Position: Assistant Professor of Economics

Degrees from: University of Notre Dame, M.A. and Ph.D.
Delaware State University, B.A.

Her work: Yung studies asset prices. “In part, my research agenda seeks to understand what drives fluctuations in asset prices, how financial assets are interconnected, and their role in the transmission of shocks onto other assets as well as the macroeconomy.” For instance, one of her studies looks at the connections between the yield curves of different countries and their respective exchange rate movements.

Finding her path: Yung came to Delaware State University as a tennis player and initially was an undeclared major—she was interested in social sciences but also analytical fields like math and physics. Her first economics class lit a fire. “I realized this is where I can truly be happy because I get to learn about everything that I like in one field.”

Before ֲý: After earning her doctorate, Yung became a research economist at the Federal Reserve Bank of Dallas. “Working at the Fed and being involved in policy work has given me direct exposure to the challenges that U.S. policymakers face,” she says, “shaping both my research and my analytical insight into perhaps one of the most thought-provoking economic periods of our time.”

Why study economics? “The intersection of macroeconomics and international finance is a rich area of research that allows students to answer questions at the core of social sciences from an applied and technically rigorous point of view.”

How she’ll teach: Yung says that as a student herself, her favorite courses were the ones where she learned the most. “As a teacher, my main goal is to help students develop their critical thinking and analytical skills so that they can tackle important economic questions in the classroom and beyond.”

Prior to ֲý, Assistant Professor of Economics Julieta Yung was a research economist at the Federal Reserve Bank of Dallas. (Theophil Syslo/ֲý College)

Prior to ֲý, Assistant Professor of Economics Julieta Yung was a research economist at the Federal Reserve Bank of Dallas. (Theophil Syslo/ֲý College)

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