Email
slucie@wpi.edu
Education
PhD, Theatre and Performance, The Graduate Center, CUNY
MA, Performance Studies, New York University
BA, Theatre and English, Boston College
Sarah Lucie earned her PhD in Theater and Performance from The Graduate Center, City University of New York, and MA in Performance Studies from New York University. Her research approaches contemporary performance and digital art through new materialism, ecocritical theory, and posthumanism. Her current book project, Acting Objects: Staging New Materialism, Posthumanism and the Ecocritical Crisis in Contemporary Performance, explores the critical eco-conscious potential of the human–non-human relationships on the contemporary stage. Her writing has appeared in Theatre Journal, Performance Research, The Journal of Dramatic Theory and Criticism, Theatre Topics, PAJ, and Etcetera, as well as The Routledge Companion to Theatre and Politics (2019) and Machine Made Silence: The Art of Kris Verdonck (2020). Her co-edited collection, Revealing Posthuman Encounters in Performance, is forthcoming through Routledge. She also contributes to a collaborative writing collective, whose book Mourning the Ends: Collaborative Writing and Performance is forthcoming with Punctum Books. Sarah is media editor of Performance Studies: An Introduction, 4th Edition, as well as Assistant Editor of TDR: The Drama Review. Prior to joining WPI, she taught courses in theatre history, script analysis, performance research, musical theatre, animal studies, and critical theory at NYU, Marymount Manhattan College, Drew University, The New School, City College, and Baruch College. She has also worked professionally as a dramaturg, actor, producer, and stage manager, and served as General Manager for East Coast Artists.
Email
slucie@wpi.edu
Education
PhD, Theatre and Performance, The Graduate Center, CUNY
MA, Performance Studies, New York University
BA, Theatre and English, Boston College
Sarah Lucie earned her PhD in Theater and Performance from The Graduate Center, City University of New York, and MA in Performance Studies from New York University. Her research approaches contemporary performance and digital art through new materialism, ecocritical theory, and posthumanism. Her current book project, Acting Objects: Staging New Materialism, Posthumanism and the Ecocritical Crisis in Contemporary Performance, explores the critical eco-conscious potential of the human–non-human relationships on the contemporary stage. Her writing has appeared in Theatre Journal, Performance Research, The Journal of Dramatic Theory and Criticism, Theatre Topics, PAJ, and Etcetera, as well as The Routledge Companion to Theatre and Politics (2019) and Machine Made Silence: The Art of Kris Verdonck (2020). Her co-edited collection, Revealing Posthuman Encounters in Performance, is forthcoming through Routledge. She also contributes to a collaborative writing collective, whose book Mourning the Ends: Collaborative Writing and Performance is forthcoming with Punctum Books. Sarah is media editor of Performance Studies: An Introduction, 4th Edition, as well as Assistant Editor of TDR: The Drama Review. Prior to joining WPI, she taught courses in theatre history, script analysis, performance research, musical theatre, animal studies, and critical theory at NYU, Marymount Manhattan College, Drew University, The New School, City College, and Baruch College. She has also worked professionally as a dramaturg, actor, producer, and stage manager, and served as General Manager for East Coast Artists.
Office
Salisbury Laboratories 008
Scholarly Work
Book Projects
Revealing Posthuman Encounters in Performance. Co-edited with Stefano Boselli. London: Routledge, forthcoming.
Mourning the Ends: Collaborative Writing and Performance. Co-written with Maria Shantelle Alexies Ambayec, Kristof van Baarle, Peter Burke, Renata Gaspar, Sozita Goudouna, Nilüfer Ovalıoğlu Gros, Adham Hafez, Jan-Tage Kühling, Eero Laine, Juliana Moraes, Evan Moritz, Malin Palani, Rumen Rachev, and Aneta Stojnić. Santa Barbara, CA: Punctum Books, forthcoming 2023.
Articles
“Human Objecthood in the Datasphere: The Body as Resistant Material in Twenty-First-Century Media,” Theatre Journal73, 3 (September 2021). muse.jhu.edu/article/807852.
“Theatre Essentials in Three Acts: Collaboration, Care, Time,” Theatre Topics 31.2 (July 2021): 99-111. DOI: 10.1353/tt.2021.0025. Co-written with Shawn Chua, Sozita Goudouna, Adham Hafez, Eero Lane, Juliana Moraes, Malin Palani, Rumen Rachev, and Leah Sidi.
“Atmosphere and Intra-action: Feeling Entangled Agencies in Theatre Spaces,” Performance Research 25.5 (Spring 2021):17-23. DOI: 10.1080/13528165.2020.1868833.
“A Passive Performative: Alternative Models of Human Agency,” Journal of Dramatic Theory and Criticism 35, 2 (2021): 113-16. DOI: 10.1353/dtc.2021.0008.
Book Chapters
“Beyond a Nonmodernity: Questioning the Human/Nonhuman Divide,” Invited chapter in Machine-Made Silence: The Work of Kris Verdonck, edited by Peter Eckersall and Kristof van Baarle. Aberystwyth, UK: Performance Research Books, 2020.
“The Human Object in Oriza Hirata’s I, Worker and Sayonara,” Refereed chapter in Routledge Companion to Theatre and Politics, edited by Helena Grehan and Peter Eckersall. New York: Routledge, 2019.
Selected Book and Performance Reviews
“Perform Again, Perform Better,” PAJ: A Journal of Performance and Art 135 (2023): 44-52. Performance review of the Under the Radar Festival.
“Learning to Listen,” PAJ: A Journal of Performance and Art 132 (2022): 81-86. Performance review of Tomás Saraceno’s Particular Matter(s).
“Teknopolis: BAM Fishman Space, Brooklyn, NY,” PAJ 43, 3 (September 2021): 54-57. DOI: 10.1162/pajj_a_00582.
“Eraser Mountain by Toshiki Okada (review),” Theatre Journal 73, 1 (March 2021): 103-106. DOI: 10.1353/tj.2021.0009.
“The Queer Life of Things: Performance, Affect, and the More-Than-Human by Anne M. Harris and Stacy Holman Jones (review),” Performance Research 25.5 (Spring 2021): 145-46. DOI: 10.1080/13528165.2020.1868858.
“Haunting Entanglements of Art and Violence,” PAJ: A Journal of Performance and Art 124 (2020). Performance review of Hito Steyerl’s Drill.