Twentieth and twenty-first century drama, playwriting, theatre and urbanism, austerity and the arts.
Hillary Miller specializes in twentieth and twenty-first century drama, with interests in theatre post-World War II in the United States, performance and urban development, and contemporary playwriting. Her first book, Drop Dead: Performance in Crisis, 1970s New York (Northwestern University Press, 2016), considers how ideologies of austerity shaped theatre practices in 1970s New York. It won the John W. Frick Book Award from the American Theatre and Drama Society and the Barnard Hewitt Award for Outstanding Research in Theatre History from the American Society for Theatre Research. Her second book, Playwrights on Television: Conversations with Dramatists (Routledge, 2020), addresses the labor of the contemporary playwright through interviews with eighteen dramatic writers about their cross-platform writing careers. Her essays and reviews have appeared in RiDE: The Journal of Applied Theatre and Performance, Theatre Journal, Performance Research, The Radical History Review, Theatre Survey, PAJ, and Lateral.
English 210W: Introduction to Creative Writing
English 241: The Text in its Historical Moment
English 302: Playwriting Workshop
English 371: Twentieth- and Twenty-First Century Drama and Performance
English 391W: Queer Drama: The Art of the Quick Change
English 701: Seminar in Graduate Methodology
English 781: Urban Stages: Dramatic Literature and the City
English 781: Decade of Fire: Theatre and Drama in 1970s New York
Playwrights on Television: Conversations with Dramatists, Routledge, 2020.
Drop Dead: Performance in Crisis, 1970s New York, Northwestern University Press, 2016 (Winner of the 2017 John W. Frick Award and the 2017 Barnard Hewitt Award).
Selected Book Chapters & Articles
“Vinnette Carroll, Langston Hughes, and the Creation of the Gospel Song-Play,” in The Great North American Stage Directors, Vol. 4, eds. Chase Bringardner and Henry Bial (Bloomsbury Methuen Drama, 2021), 119-149.
“Mabou Mines’ Dead End Kids and Performing Artists for Nuclear Disarmament,” in Side by Side: Collaborative Artistic Practices in the United States, 1960s–1980s, eds. Gwyneth Shanks and Allie Tepper, Vol. III of the Living Collections Catalogue (Minneapolis: Walker Art Center, 2020).
“Television as Theatre Text in the Austere Academy,” Research in Drama Education (RiDE) 24.3: Creative Pedagogies, Neoliberal Realities (August 2019).
“Marching Off-Beat and On Screen: New York’s Reform Movements & Charles Hale Hoyt’s A Milk White Flag,” in Performing the Progressive Era: Immigration, Urban Life, and Nationalism on Stage, 1890-1920, eds. J. Christopher Westgate and Max Shulman (University of Iowa Press, 2019).
“Subject to Punishment: Julie Bovasso’s Angelo’s Wedding and the Politics of the Unproduced,” Theatre Survey 58.2 (May 2017): 141-161.
“Institutional ‘Landing Sites’ and Uneven Cultural Development: Planned Shrinkage and La Mama E.T.C.” Performance Research 20.4: ‘On Institutions’ (September 2015).
“Live from the Nebulizer: Annie Lanzillotto and Eviction Survival,” in Lateral Journal, Performance and Cultural Studies Special Issue (September 2015), online.
“Walking the Elastic City: An Interview with Niegel Smith and Todd Shalom of Elastic City,” in Radical History Review 114: Voyeurs, Walkers, and the Politics of Urban Space (Fall 2012): 191-205.
“’Let Our Freak Flags Fly’: Shrek the Musical and the Branding of Diversity,” co-authored article, in Theatre Journal (May 2010): 151-172.
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