Current Doctoral Students

Qianru Li (MA, PhD student, qianru.li@uci.edu) Qianru is a “scholartist” who studies and practices Chinese diaspora performance. She obtained her BA and MA from Shanghai Theatre Academy. Her current research centers on contemporary Chinese diaspora performance in the U.S. Chinatowns.

 
Minwoo (Minu) Park (MA, PhD student, minwoop2@uci.edu) Minu holds an MA in Theatre Arts from Bowling Green State University and a BA in English Language & Literature and Media & Communications from Korea University. She is interested in theatre historiography and its relation to identities. She wishes to explore the intersection between the Korean and “Western” (European and American) construction of critical/academic narratives in performance. Other interests also include the operation of language/communication in performance, performances of absurdity, death, and spirituality.
Denise "Deni" Li (MFA, PhD Student, lid@uci.edu) Deni holds an MFA in Writing from the California Institute of the Arts. She is exploring how theatre and performance art can be "psychedelic" - that is, consciousness-expanding in its aesthetic, sensibility, or way of thinking. Deni is curious about how "psychedelic feelings" such as wonder, love, desire, anxiety, and grief can inspire us to approach ordinary and non-ordinary experiences differently, influence discourses of knowledge and power, and construct new intersectional feminist narratives. Deni's research interests include neurodiversity, intersubjectivity, critical theory, queerness, nonbinary/genderqueer feminism, immersive theatre, intermedia, Burning Man, practice-based research in the arts, mask work, and Asian American mental health. As a cross-genre writer, Deni is also drawn to intersections between performance-making, writing, and scholarship (in hybrid texts, critical autoethnography, and experimental criticism).
 
Chee-Hann Wu (MA, PhD Student, cheehanw@uci.edu) Chee-Hann Wu holds an MA in Drama from University of Alberta, Canada, and a BA in Foreign Language and Literature from National Taiwan University. Her current research interests include postcolonial performance, theatre of Taiwan and postwar Japan, contemporary dance and physical theatre, and the studies of space and body in performance. She is also interested in both traditional and contemporary performance of puppet arts. She had worked as a producer, dramaturg, director, and backstage manager in theatre productions. 
Stephanie Lim (MA, PhD student, Stephanie.lim@uci.edu) Stephanie holds her BA and MA in English from California State University, Northridge and teaches undergrad classes at CSUN and AMDA College & Conservatory. Her research focuses broadly on contemporary American musical theatre, with specific interests in Deaf Studies and Disability Studies, the representation and inclusion of minorities on stage, and adaptations. Her work appears in the anthologies Plants and Literature: Essays in Critical Plant Studies, Singing and Dancing to The Book of Mormon: Critical Essays on the Broadway Musical, and Hero or Villain? Essays on Dark Protagonists of Television, with recent work appearing in Theatre Survey, Everything Sondheim, and Studies in Musical Theatre. Stephanie serves as an incoming Grad Student Rep for ATHE’s Music Theatre/Dance Focus Group.
Shane Wood (MA, PhD Student, swood1@uci.edu) Shane Wood holds MAs in English and Theatre from La Sierra University and San Diego State University. Throughout his career, he has striven to balance his academic endeavors as a theatre scholar with his artistic ambitions as an award-winning director, dramaturg, designer, and actor. He believes this continued work in both spheres makes him a better artist and scholar. His scholarly work examines Medieval and Early Modern representations of Women, specifically exploring the performativity of the female 14th and 15th century mystics of Italy and England and the depictions of women in the plays of Shakespeare and his contemporaries. He continues to enjoy his works as an educator for high school and college students of English and drama and looks forward to continue building connections in his research. 
Amy Shine (MA, PhD Student, shinea@uci.edu) Amy is obsessed with intersections of text and performance in which women of England's Long 17th Century brought to the stage the beginning representations of the female voices of what would become Western, popular, mass media. She approaches the work with MAs in Theatre Arts (SDSU) and in English (La Sierra University), a passion for solving mysteries, a deep love of libraries and aged texts, a willingness to (continue to) travel wherever research (and funding) require (allow), and a thorough appreciation for the support and comradery of her peers and colleagues.  Her recent accomplishments include serving on the Planning Team of the International & Campuswide Orientations (2016), presiding over the standing session, "British Literature and Culture: To 1700" and presenting a paper in the "Drama and Society" session at the Pacific Ancient and Modern Language Association (PAMLA, 2016) conference. Amy is excited to continue her dramaturgical career with work on Avenue Q, her first show at UCI and to teach the Development of Drama series for the Claire Trevor School of Drama. 
Ricardo Rocha (MA, PhD Student, rerocha@uci.edu) Colombian-American theatre educator, practitioner, and scholar, 2016-2017 UCI Faculty Mentor Program Fellow, he holds a BA from UC Berkeley and an MA from The University of Wisconsin. Scholarly and practice interests include bilingual adaptations, Spanish-speaking theatre, performance labor, and Latino/a representations in nineteenth and early twentieth century America.  Directing credits include Philip Kan Gotanda’s I Dream of Chang and Eng (UCI’s mainstage 2017 season, “Them”), ¡Diversi…Qué?  (Dramatic Transformations project, 2015), Hello Out There, A Streetcar Named Desire, bilingual adaptations of Twelfth Night and The Double Infidelity, and his first original work, Props 38s. Spanish-speaking lead roles include Hugo Rascón Banda’s La Malinche directed by Ruben Amavisca and Yerma (Bilingual Foundation of the Arts). Favorite English-speaking lead roles include The Eight at Theatre X, It Happened in Havana at BFA, and The Impostor directed by Luis Avalos. 
Michael Moshe Dahan (MFA, dahanm@uci.edu) Michael is a scholar, filmmaker and artist who earned his MFA in Studio Art with a Critical Theory Emphasis from UC Irvine in 2012. His current work interrogates the intersection of psychoanalysis, political economy, post-colonial theory and aesthetic production emerging from Israel/Palestine. Specifically, his research deploys performative economic theories, psychoanalysis, and epigenetic approaches to historical trauma to examining disproportionate prisoner exchanges between Israel and Palestine. By assessing the performative capacity of exchange, his work proposes that these prisoner-swaps emerge as a form of differential judgment—a political valuation and overall depreciation of human life—that unleash a leakage of the unconscious, a drive towards what Bataille names an ‘expenditure without reserve,’ and one that turns the subject of the Israeli-Palestinian state out on itself, ejecting it outside the frame of its own ethical inside.  His experimental film, Two Points of Failure, was screened at the Rotterdam, Edinburgh, Jihlava, Bucharest, and Melbourne International Film Festivals, as well as the Tribeca Film Festival and the MAK Center for Art and Architecture in Los Angeles.  Before receiving his MFA, he spent nearly a decade working as a film executive.  
Anna Renée Winget (MFA, PhD student, hansenar@uci.edu) Anna Renée Winget holds an MFA in Playwriting from Boston University. She has taught at Boston University, Suffolk University, and currently teaches at UC Irvine and Loyola Marymount University. Her research interests are engaged with queer theory, diasporic studies, yogic philosophy, and their intersections. Grounded in texts of ancient India such as The Natyasastra (India’s treatise on drama) and Yoga Sutras (Patanjali’s 8-fold path of yoga), she is currently examining theories of utopia and how they manifest in performance practice on sociocultural levels as well as levels of consciousness for audience members and performers.