Gender & Social ChangeLocation: ONLN (Online)
Honors Core Thematic ITLocation: MHC 1206A (MHC 1206A)
Script AnalysisLocation: PAB 103 (PAB 103)
History Of TheatreLocation: PAB 103 (PAB 103)
History of Theatre-HONLocation: PAB 103 (PAB 103)
Grad Research Projects
Please note: Student feedback is only available for courses prior to Spring 2021
- American Society for Theatre Research. 11/07/2019 - present. Position : Empowerment Committee Member.
- American Theatre & Drama Society. 10/01/2017 - present. Position : Member.
- American Society for Theatre Research. 09/01/2017 - present. Position : Member.
- University of Utah. 08/15/2017 - present. Position : Women's Enrollment Liaison.
- Women and Theatre Program (WTP). 08/05/2016 - 08/01/2018. Position : WTP Session Planner for the ATHE 2017 & 2018 Conferences, 2016-2018.
My fervent conviction that theatre is a necessity for human life feeds my equally held belief that class meetings should be encounters of active learning. In support of these principles, I use the flipped classroom model wherein prior to the class meeting, my students read or watch lessons I’ve distributed which explain terms and approaches. In class, we engage physically and viscerally with the material and learn in process. My students receive ample incentive for learning the lessons because without having done so, they are less able to participate. I find this pedagogical model to be particularly useful with theatre training, as issues that may arise from readings, viewings or listening to recordings can be dealt with in class time and I see the students’ progress more clearly than if the chapter to read is assigned as an addendum to classwork. In addition, the kinesthetic acquisition of acting skills requires engagement of both the mind and body, something not often present in a lecture format. But as Anne Fliotsos and Gail Medford highlight, “the theatre requires more than clever minds and willing hands; it demands a full commitment in the use of self (body, mind and spirit) and an alert awareness of contemporary life (social, ideological, cultural).” As such, I find it necessary to provide significant exposure to live theatrical performance in all types of theatre courses through arrangements made with theatre collaborators and other classes. I also utilize a fluid discussion style (including, at times, movement) after viewing pieces to allow for connections to be made to the larger socio-cultural context within which we live. These efforts do not only increase the importance for each individual student, but they also raise the stakes of theatre itself as a discipline and distinctly demonstrate how essential it is that we engage with the art critically in the academy.
 Anne Fliotsos and Gail Medford. Teaching Theatre Today: Pedagogical Views of Theatre in Higher Eduation. New York: Palgrave Macmillan, 2004, 2.
- Rohina Malik - "Unveiled". Project Lead: Dr. Kimberly Jew. Collaborators: Dr. Lynn Deboeck. U of U Group Teaching Grant 10/18/2018 - 10/20/2018. Total Budget: $4,000.00.
- Teaching with Liveness. Project Lead: Dr. Robert Nelson. Collaborators: Dr. Lynn Deboeck. U of U Individual Teaching Grant 08/20/2018 - 12/07/2018. Total Budget: $3,500.00.
- “Sweat by Lynn Nottage—Exercise,” How to Teach a Play: 75 Exercises for the College Classroom. Eds. Miriam Chirico & Kelly Younger. New York: Bloomsbury Methuen, January 2020. Paper published, 01/2020.
- “The Tag-tic That Works,” Objectives, Obstacles, and Tactics in Practice: Perspectives on Activating the Actor. Eds. Valerie Clayman Pye & Hillary Haft Bucs. New York: Routledge, December 2019. Paper published, 12/2019.