Hagen, Lisa Hall
Associate Professor - Theatre
FA 708
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Last Updated: 9/24/17 -

I currently serve as an Assistant Professor of Theatre History and Dramaturgy, and also teach with the Honors Program. I am the Dramaturgy Advisor and have served in the past as Coordinator of the Gender Studies minor. I am also proud to coordinate the Theatre Department's yearly service project, which has benefited the Center for Women and Children in Crisis, as well as the Newborn Intensive Care Unit at Utah Valley Regional Medical Center.

Classes taught include:

  • Theatre History and Literature I and II
  • Script and Text Analysis
  • Introduction to Dramaturgy
  • Honors: Modern Legacies
  • Special Topics: Literature and Performance of Brecht
  • Introduction to Writing for the Stage and Screen

Education and Affiliations:

I hold a PhD in Theatre History and Criticism from the University of Colorado, Boulder, as well as an MA in Playwriting from Boston University and a BA in Drama from San Francisco State University. I also hold a Graduate Certificate in Gender Studies and a Certificate in College Teaching (both from CU Boulder). I currently serve as the Vice President and incoming President of the Women and Theatre Program of the Association for Theatre in Higher Education, and have affiliations with ASTR and LMDA.

Within the Theatre Department's season I have had the pleasure of directing:

  • Eurydice by Sarah Ruhl (invited to be performed at the regional KCACTF festival)
  • Taming of the Shrew by William Shakespeare (coming in Spring 2014)
  • Mary Shelley by Helen Edmundson (coming in Fall 2014)
  • As well as an innovative reading series that has featured:
  • If We Were Birds by Erin Shields
  • Down From Heaven by Colleen Wagner
  • Many Moons by Alice Birch

Recent publications and presentations include:

  • “I am sane, I am sane”: the trail as framework in Emily Mann’s Mrs. Packard,” Woman on Trial: The Construction of Gender in Plays about Women Accused of Crime, eds. Amelia Howe Kritzer and Miriam Lopex Rodriguez.
  •  “Female Playwrights, Female Killers: the use of real crime to explore intersecting texts on gender in early 20th century American Drama.” Intertextuality in American Drama: Critical Essays on Eugene O’Neill, Susan Glaspell, Thornton Wilder, Arthur Miller and Other Playwrights. Eds. Drew Eisenhauer and Brenda Murphy, McFarland, 2012.
  • Examining the Use of Safety, Confrontation, and Ambivalence in Six Depictions of Reproductive Women on the American Stage, 1997-2007: Staging ‘The Place’ Lewiston: The Edwin Mellen Press, 2010.
  • “A performance ethics of the ‘real’ body: the case of Aliza Shvarts and ‘Untitled [Senior Thesis], 2008.” Performing Ethos, 2:1.
  • “The History of Acting: Styles and Aims.” Fundamentals of Acting. Kendall/Hunt Publishing Company, 2011.
  • “Creating Character Through Research: Groundwork for performance.” Fundamentals of Acting. Kendall/Hunt Publishing Company, 2011.
  • “ ‘She watches us watching her’: The Theatre of Maternity and the Performance of Maternal Failure in Eugene O’Neill’s Long Day’s Journey Into Night.” Essays and Scripts on How Mothers are Portrayed in the Theater: A Neglected Frontier of Feminist Scholarship. Eds. Beth Osnes and Anna Andes. Lewiston: The Edwin Mellen Press, 2010.
  • “Valmiki’s Ramayana.” Revealed in Shadows: The Shadow Puppet Theatre of Southeast Asia. Ed. Beth Osnes. McFarland Press, 2010.
  • Book Review of Being and Becoming Visible: Women, Performance, and Visual Culture in Women’s Studies: An Inter-disciplinary Journal, forthcoming.
  • Book Review of When Broadway was the Runway: Theater, Fashion, and American Culture in Theatre Journal, 62:4, Dec. 2010, pp. 697-8.
  • Book Review of Good Girls and Wicked Witches: Women in Disney’s Feature Animation in Thirdspace: A Journal of Feminist Theory and Culture.
  • “Performing the Ordinary Body in Intimate Exposure Projects,” ASTR Working Group “Everyday Life,” Dallas 2013.
  • “’The civic power of the performed abortive body,” ATHE panel (coordinator) “Creating Civic Citizens through Performances of Marginalized Identity, Giving Voice without Fetishization: A Taught Panel,” Washington, DC 2012.
  • Roundtable, Script Analysis Textbooks, ATHE, Washington, DC 2012.
  •  “Valuing Student Experience: Micro-interventions and Advocacy for Non-Traditional Female Students,” ATHE WTP Pre-conference, Washington, DC 2012.
  • “Alternative Panels: Pedagogical Theory & Presentation Styles in the Academic Conference Stratum,” MATC Articles-in-Progress Workshop, Chicago 2012.
  • “The Margins of Dramaturgical Work: Creative Solutions and Non-traditional Projects,” KCACTF Region VIII Festival, 2012.
  •  “The Infectious Power of the Performed Reproductive Body: Aliza Shvarts and the Yale Scandal,” ASTR Working Group “Contaminating Bodies, Infectious Displays: Women as Performative Currency,” Montreal 2011.
  •  “Remembering and Repeating ‘Mother’: The Theatre of Maternal Failure and the Isolated American Family,” ATHE panel (coordinator) “Memory, Gender & Race in the American Family: A ‘Taught’ Panel,” Chicago 2011.
  •  “Sarah Ruhl’s Eurydice: Re-Making Myth and Staging Identification.” Scholar Series Humanities Symposum, UVU, 2011.
  • “ ‘Let them Talk’: The Language of Reproduction in Suzan-Lori Parks” ATHE panel (coordinator) “Pregnant Dialogues: Maneuvering dangerous discussions of Pregnancy, Birth and Abortion,” Denver 2008.
  •  “All of Phaedra’s Line: The Implosion of the Mother-Daughter Relationship in Kane’s Rendering of the Phaedra Narrative”,Hawaii International Conference on Arts and Humanities, 2008.
  • “Teaching the Canon to Non-Majors: A Technique for Developing Student’s Feminist Perspective,” Feminist Theater Pedagogy and Aesthetics Workgroup, ATHE WTP Pre-conference, New Orleans 2007.