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TRACY C. DAVIS (ETHEL M. BARBER PROFESSOR IN PERFORMING ARTS, 

NORTHWESTERN UNIVERSITY) GOSTUJE NA ODSJEKU DRAMATURGIJE I ADU 

U SKLOPU SERIJE PREDAVANJA I RADIONICA “INTRODUCING DRAMATURGY 

STUDIES”.

 

GOSTOVANJE ORGANIZIRAMO UZ POMOĆ DONACIJE PROMOTING AMERICAN 

ARTS AND EDUCATION VELEPOSLANSTVA SJEDINJENIH AMERIČKIH DRŽAVA U 

ZAGREBU

 

Tracy C. Davis  održat će javno predavanje, a potom i radionicu za studente 

dramaturgije u tjednu od 10. do 13. ožujka 2014. Teme najavljujemo uskoro. 

 

Tracy C. Davis is Ethel M. Barber Professor in Performing Arts at Northwestern 

University, and Associate Dean for Academic Affairs, The Graduate School of 

Northwestern University

 

SPECIALITIES:

19C British theatre history; economics and business history of theatre; performance 

theory; gender and theatre; research methodology, museum studies; Cold War studies

 

PROFESSIONAL LEADERSHIP:

2006-9 President, American Society for Theatre Research

2007-12 Board of Directors, Performance Studies International

 

MAJOR AWARDS, FELLOWSHIPS, AND HONORS:

1990–91         Andrew W. Mellon Faculty Fellowship, Harvard University

1995                National Endowment for the Humanities Research Fellowship

2001                George Freedley Memorial Award (Theatre Library Association)

2002–03         Eisenhower Presidential Foundation Travel Grant

2004                White House Historical Foundation Grant

2005                Distinguished Scholar’s Prize (American Society for Theatre Research)

2004               Clarence Ver Steeg Graduate Faculty Award (Northwestern University)

2008               Stanley J. Kahrl Fellowship in Theatre History, Houghton Library, Harvard

2009               Andrew W. Mellon Foundation Fellow, Huntington Library

2010               Distinguished Visiting Professorship, Queen Mary University of London

2012               Visiting Fellow, Ludwig-Maximilians-Universität (Munich)

 

BOOKS:

- Actresses as Working Women: Their Social Identity in Victorian Culture (London: 

Routledge, 1991).   

- George Bernard Shaw and the Socialist Theatre (Westport, CT: Praeger / Greenwood, 

1994). 

- Playwriting and Nineteenth-Century British Women, co-editor (Cambridge University 

Press, 1999).

- The Economics of the British Stage, 1800–1914 (Cambridge University Press, 2000).  

- Theatricality, co-edited with Thomas Postlewait (Cambridge University Press, 2003).

- Stages of Emergency:  Cold War Nuclear Civil Defense (Duke University Press, 2007).

- Considering Calamity:  Methods for Performance Research, Co-edited with Linda BenZvi (Tel Aviv:  Assaph Books, Tel Aviv University, 2007). 

- The Performing Society: Nineteenth-Century Theatre’s History, Volume 5 of 

“Redefining British Theatre History,” co-edited with Peter Holland (Palgrave Macmillan, 

2007).  

- The Cambridge Companion to Performance Studies (Cambridge University Press, 

2008).

- The Broadview Anthology of Nineteenth-Century British Performance (Broadview 

Press, 2012).

Contributions to Books and Anthologies (23 published and forthcoming)

Refereed Articles and Review Articles  (50 published)

Currently Series Editor for Cambridge University Press (Theatre and Performance 

Theory), and Co-editor for Palgrave (Transnational Theatrical Trade Routes)

 

MAJOR RESEARCH PROJECT IN PROGRESS:

Living in Public: Studies in Liberal Subjectivity.  How is the microhistory of a British

family connected to the macrohistory of anti-slavery activism? This project investigates 

networks that connect activists to each other and the role taken by performance (in 

theatres, concert halls, pulpits, parliament, and at the hustings) to connect leisure 

time, social time, and private time to the constitution of metropolitan and global public 

spheres. How did a young man with a Methodist upbringing become an activist, then 

a writer, and finally an orator? How did a young woman with impeccable Radical 

credentials balance her reproductive life with a career that took her first to criticism then 

to activism? This project challenges reigning ideas about mid-Victorian marriage and 

gender, the “mere populism” of performance, and the legibility of activists who toiled and 

socialized among the most prominent figures of their day, lived almost entirely “under the 

radar” of public prominence, yet were the engineers of anti-colonial, anti-racist, and antigenocidal critiques.