All TAs and AIs teaching classes in the Department of Theatre & Dance are listed here. Some are department MFA students (Dramatic Arts), while others are Ph.D. students in Performance Studies (an interdisciplinary Graduate Group). Visit the Performance Studies website for more information.
B.A. Theatre and Dance, James Madison University, 2006
Isa is a performing artist and somatic researcher who has worked for over a decade with movement/dance modalities and experimental theatre techniques that promote self reflection. Through her developing methodology, Dialoguing the Unconscious, and her Ph.D research, she is investigating the question: How do we share/acknowledge knowledge that can’t (in a “regular” way) be seen? She is deeply invested in pre-colonized ways of knowing.
California State University, Sacramento, B.A. Dance, May 2013
Diego Martinez-Campos is a Mexican performing artist, choreographer, and movement educator currently based in Sacramento, CA. He strongly believes that art has the power to enrich, transform, and change people’s lives through play, collaboration, and education. To know more about Diego, visit www.creatifcreature.com
Tasa Gleason holds a BFA in Dance Performance from Cornish College of the Arts, Seattle WA, and a certificate in Apparel Design and Merchandising from College of Alameda, Alameda CA. She has been designing and creating costumes for dance and theatre for over 15 years. Having a background in performance and choreography offers Tasa an understanding of what is unique about costuming for dance and theater, it also means that she shares a vocabulary in regards to movement that is indispensable to her when collaborating with directors, choreographers and dancers.
M.A., Devised Theatre, Dartington College of Arts, Falmouth University, EnglandB.A., Theatre, Barnard College, Columbia University, New York City
Sarah Ashford Hart is a socially engaged performance practitioner, scholar and educator from a Canadian-Venezuelan-American family background. Over the past 12 years she has developed her arts practice in Russia, England, Venezuela, Chile and the US. Her work explores participatory techniques for generating social dialogue across barriers of cultural difference, by creating multilingual spaces to explore the mutability of ‘belonging’ and ‘community’.
Ante’s interest as an academic researcher in the domain of circus is in acts, events, shows, and performances that offer a unique set of possibilities to widen perception of circus; what and who it encompasses, its politics. Currently, he is investigating the animal-human relationship in traditional and contemporary circus. Most of his career as a performer and choreographer has taken place in the field of New Circus. Ante visited the circus school in Brussels (ESAC) and Berlin (Die Etage) and Moscow.
Lena Polzonetti is a dancer, choreographer, and dance educator. She has performed professionally in ballet and modern dance companies, including the Ithaca Ballet, alban elved dance company, Danza Tersicore, and Fischerdance, among others. From 2006 to 2017 she coordinated and taught in the magnet dance program at Clay High School for the Visual and Performing Arts in South Bend, Indiana.
Humboldt State University, B.A. Interdisciplinary Dance: Language and Culture, 2007
Kevin Dockery is a physical thinker, mover, musician, writer and nature historian who uses performance to explore ideas of self, place, and fit in the cultural labyrinth that overlays our experience of life.
Tom Burmester founded the Los Angeles Theatre Ensemble in 2004, where he served as Artistic Director. He also presided over the historic Powerhouse Theatre as Managing Director during the Ensemble’s tenure (2008- 2011).
Deepa Mahadevan is a classical Indian dancer and the Founder/Artistic Director of Tiruchitrambalam School of dance, Union City,CA. She is interested in examining the role of gender, caste, sex, class and religion in the form and content of the dance form Bharatnatyam, a South Indian neoclassical dance form. Her research interest proceeds to delve into the transmission of this dance to second generation immigrant students, especially in the context of the North American Diaspora.
Eric’s artmaking, clinical work and academic research are organized around the material aesthetics of psychoanalysis. He is in private practice in Davis and San Francisco, and his project is an aesthetic (mis)translation of developmental attachment theory into a feminist materialist revision of the psychoanalytic project.