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Charlotte McIvor received her Ph.D. in Performance Studies from the University of California, Berkeley with a designated emphasis in Gender, Women and Sexuality. She has also taught at California College of the Arts and Santa Clara University. She was the creator and Program Director of University of California, Berkeley’s Summer Abroad program, ’Irish Theater Today’ which ran from 2011-2013.
She is a Lecturer in Drama and the director of Postgraduate Studies in Drama at NUI Galway. She teaches classes in theatre history, theory, dramatic literature and performance.
She is active in many scholarly organisations including the American Association for Theatre in Higher Education, the American Society for Theatre Research, the Irish Society for Theatre Research, and the American Conference for Irish Studies. She currently serves as the chair of the Theatre History Focus Group for the American Association for Theatre in Higher Education.
She is also a director and dramaturge. Recent and upcoming projects include directing Sophocles’ Electra in an adaptation by Frank McGuinness (NUI Galway, Spring 2014), Erik Ehn’s What A Stranger May Know (Santa Clara University, Spring 2012), Dominika Bednarska’s My Body Love Story (Queer Arts Festival, San Francisco, Spring 2011), and Samuel Beckett’s Play (University of California, Berkeley, Fall 2011).
Her research interest include modern and contemporary Irish performance; practice as research; theatre for social change; interculturalism, migration and performance; gender and sexuality; transnational feminisms; critical race theory and community arts. She welcomes interest from prospective PhD students with proposals in these areas.
Her current book project entitled “Towards A New Interculturalism: Migration and Performance in Contemporary Ireland”argues that theatre and performance is at the center of conceptualizing interculturalism as social policy and aspiration in contemporary Ireland. This research is currently being supported by NUI Galway’s Millennium Fund.
Staging Intercultural Ireland: New Plays and Practitioner Perspectives, co-edited with Matthew Spangler, (forthcoming from Cork University Press, 2014)
Devised Performance in Irish Theatre: Histories and Contemporary Practice, co-edited with Siobhán O’Gorman (under commission with Carysfort Press)
2013 ‘Albert Nobbs, Ladies and Gentlemen, and Quare Irish Female Erotohistories,’ Irish University Review 43:1, May 2013, pps. 86-101.
2012 ’Essences of Social Change: City Fusion, Interculturalism and the Dublin’s St. Patrick Day in the ’new’ Ireland,’ Public 23:45: Art and Civic Spectacle, Fall 2012, pps. 180-191.
2011 ’Staging the ’New Irish’: Interculturalism and the Future of the Post-Celtic Tiger Irish Theatre,’ Modern Drama 54:3, Fall 2011, pps. 310-332 .
2009 ’I’m Black and I’m Proud’: Breakfast on Pluto, Ruth Negga, and Invisible Irelands,’ InVisible Culture: An Electronic Journal for Visual Culture, Issue 13: After Postcolonialism?, pps. 22-36.
Forthcoming, ’White Irish Male Playwrights and the Immigrant Experience Onstage,’ in Literary Visions in Multicultural Ireland: The Immigrant in Contemporary Literature , edited by Pilar Vilair-Argáiz, Manchester: Manchester University Press.
Forthcoming “Intercultural Masculinities in the Contemporary Irish Theatre,” in Gendering Ireland: 1800-2012, edited by Rebecca Barr, Sarah-Anne Buckley and Laura Kelly, (Bern: Peter Lang).
Forthcoming ’Ireland, China, Belgium, Finland: Brokentalkers and the Transnational Connectivities of Post-Celtic Tiger Irish Performance,’ in Beyond Realism: New Knowledges About Theatre Styles in Irish Drama, edited by José Lanters and Joan Dean, Amsterdam: Rodopi.
2013, ’Witnessing the (Broken) Nation: Theatre of the Real and Social Fragmentation in Brokentalkers’ Silver Stars, The Blue Boy and Have I No Mouth,’ in ’That Was Us’: Contemporary Irish Theatre and Performance, London: Oberon Books.
2009 ’Ghosting Bridgie Cleary: Tom MacIntyre, the gendered politics of presence and staging this woman’s death,’ in Crossroads: Performance Studies and Irish Culture, edited by Fintan Martin Walsh and Sara Brady, London: Palgrave Macmillan, pps. 169-179.
2009 ’ Crying on Pluto: Neil Jordan and Queering the ’Irish Question’ for Global Cinema Audiences,’ in Deviant Acts: Essays on Queer Performance, edited by David Cregan, Dublin: Carysfort Press, pps. 171-188.
2013 Masculinities and the Contemporary Irish Theatre. Book Review, Modern Drama, Vol. 56, No. 2, Summer 2013, pps. 263-266 .
2011 Queer Notions: New Plays and Performances from Ireland. Book Review, Theatre Survey, Volume 52, Issue 2, pps. 382-384.
2010 The Walworth Farce Performance Review, Theatre Journal, Volume 62, No. 3, 462-464.
2009 Theatre and Globalization: Irish Drama in the Celtic Tiger Era Book Review , Theatre Journal, Volume 79, No. 4 , pps. 659-660.
2007 Staging Resistance: Plays by Women in Translation Book Review, Theatre Journal, Volume 59, No. 3, pps. 533-535.
Selected Invited Papers/Conference Presentations
July 2013, ’A Broken Nation: Brokentalkers and the inter/trans-national future of Irish performance,’ Performance, Nation and Globalisation Summer School, National University of Ireland, Galway.
November 2012, ’’Something of the Fairy in Her’: Albert Nobbs, Ladies and Gentlemen, and Quare Irish Female Erotohistories,’ ECHO Postgraduate Humanities Forum, National University of Ireland, Galway.
September 2012, ’Other Worlds/Other Home: Ethnography as Living or the Performance of Migration in Everyday Life,’ Seminar convened for Robyn Wiegman’s Object Lessons, University College, Dublin.
July 2012, ’A Portrait of the Citizen as Artist: Community Arts and Experimentation in the Contemporary Irish Theatre,’ J.M. Synge Summer School.
April 2012, ’Performing the Past, Feeling the Future: Race, Irish History and Spectacular Suffering in Donal O’Kelly’s The Cambria,’ Irish Literary and Historical Society.
March 2012, ’Performing at the Crossroads: From Allentown to the West of Ireland via Berkeley- Experiments in Theory and Practice,’ Muhlenberg College.
June 2011, ’Staging the New Irish: Interculturalism and the Future of the Post-Celtic Tiger Irish Theatre,’ Princeton University Global Seminar- National University of Ireland, Galway.
2014 “The Politics of Form: Arambe Productions, Polish Theatre Ireland, and Adaptation/Translation as Interculturalism in Contemporary Ireland,” American Assocation for Theatre in Higher Education
2014 “Hidden Histories: Performance as Commemoration and Critique in 2016” with Miriam Haughton, American Conference for Irish Studies
2014 'Take Me Down to Monto: City Workshop, ANU Productions and Urban Genealogies of Irish Community Arts,” American Conference for Irish Studies
2013 ‘“Take Me Down to Monto”: Irish Theatre Histories and the Use Value of Community (Arts),’ Irish Centre for the Histories of Labour and Class Inaugural Conference, National University of Ireland, Galway
2013 “Take Me Down to Monto: Disrupting Narratives of Economic Crisis as States of Exception through the Experimental Irish Community Theatre,” Irish Society for Theatre Research
2013 ’Microhistories as Macrotheatre: Dismantling the Irish State (of Performance),’ American Society for Theatre Research
2013 ’Staging Intercultural Masculinities: Yeats, Tagore, Pearse and Modern(ist) Theatre Aesthetics at the Abbey Theatre, Masculinites in the Longue Durée, National University of Ireland, Galway.
2013 ’Sexual Geographies of the Northside: Staging Forbidden Bodies and Spaces in the 2011 and 2011 Dublin Theatre Festival,’ American Association for Theatre in Higher Education.
2012 ’Offstage Bodies, Onstage Silences: Alice Coghlan’s Sylvia’s Quest and Female (Im)migrants on the Contemporary Irish Stage,’ Irish Society for Theatre Research
2012 and 2011 Working Group Co-Convener and Presenter, ’Economies of Belonging: Migration and Performance,’ American Society for Theatre Research
2011 ’’To Riverdance and Beyond: How Irish Hand Dancing Took Over the World,’ American Conference for Irish Studies West Regional Conference
2011 ’To Write History on the Body: Acting Out Race, Ethnicity, Gender and Sexuality in Introductory Performance Courses,’ Theatre History Focus Group Pre-Conference, American Association for Theatre in Higher Education
2010 ’Dublin, China, Ghent: Brokentalkers and Mediating Post-Celtic Tiger Performance,’ American Society for Theatre in Higher Education.
2010 ’’High Touch’ Mixed Economies: Performance Studies, Online Education and Teaching the Spaces Between Public and Private,’ Performance Studies international.
2009 ’ Play it, again: Mapping Ireland, Citing Synge,’ Modern Language Association in conjunction with American Conference for Irish Studies.
2009 ’A (New) Portrait of the Artist as Immigrant: Upstate Theatre Project and Politicizing Participatory Arts Post-Celtic Tiger,’ Working Group, American Society for Theatre Research.
2009 ’’Opening Doors’: The Domestic Worker’s Support Group and Performing Migrant Women’s Labor in post-Celtic Tiger Ireland,’ Center for Race and Gender, University of California, Berkeley.
2008 ’’I’m Black and I’m Proud’: Breakfast on Pluto, Ruth Negga, and Invisible Irelands,’ ’Visualizing Ireland’ Conference, University College, Dublin.
2008 ’The Post-Man (sometimes) Rings Twice: The mixed messages of Rabindranath Tagore, W.B. Yeats, Padraig Pearse and Iseult Gonne,’ American Conference for Irish Studies
2008 ’Something ’strange and beautiful’: Agunmukho, Surja Pora Chai, and Globalized Regionalisms on the Kolkata Stage,’ Comparative Drama Association
2008 ’ Crying on Pluto: Violence, Masculinity, and Queering the Irish Question,’ Council for European Studies.
2008 ’Something ’strange and beautiful’: Agunmukho, Surja Pora Chai, and Globalized Regionalisms on the Kolkata Stage,’ University of California, Berkeley South Asian Studies Conference.
2008 ’Circulating Flames: Sati, Bridget Cleary, and desiring ’Burning Women,’’ Thinking Gender Conference, University of California, Los Angeles.