Stanford TAPS Visiting Faculty

L. Peter Callender

L. Peter CallenderVisiting Instructor. Winner of the SF Weekly's Best Acting Coach/Mentor of the Bay Area last year, veteran award-winning actor and director L. Peter Callender brings his 35 years of theater experience to Stanford University. Mr. Callender is Artistic Director of the African-American Shakespeare Company in SF (recent winner of the Paine Knickerbocker Award for outstanding contribution to Bay Area theater) and, for the past 17 years, an associate artist at California Shakespeare Theater in Berkeley, CA where he has performed in over 20 Shakespeare plays. He has taught acting Shakespeare for CalShakes and San Francisco School for the Arts. He has been private Shakespeare coach to Erica Gimpel, Michelle Pfeiffer and professional actors and students throughout the Bay Area. Mr. Callender's theater credits span coast to coast including: Broadway's Helen Hayes Theater, New York Shakespeare Festival, African-American Shakespeare Company, Cincinnati Playhouse, Pittsburgh Public Theater, Pennsylvania Stage Company, Shakespeare Santa Cruz, Milwaukee Rep, Berkeley Rep, American Conservatory Theater, Aurora Theatre and Marin Theater Company. Peter is the recipient of several theater awards including the San Francisco Bay Area Critics Circle Award, several Dean Goodman Awards and SF Guardian's Goldie Award for Best Actor.

Grisha Coleman, Stanford Arts Institute 2014-15 Mohr Visiting Artist

Basil TwistStanford Arts Institute 2014-15 Mohr Visiting Artist; Visiting Instructor. New York native Grisha Coleman has worked as a composer, performer, and choreographer. She is a graduate of the College of Letters at Wesleyan University and received her MFA in Composition and Integrated Media from California Institute of the Arts.

From 1991-1994 she danced with the Urban Bush Women. In 1995, Coleman created the music-performance group HOTMOUTH which toured extensively nationally and internationally and was nominated for a Drama Desk Award for “Most Unique Theatrical Experience.”

After completing a research fellowship at the STUDIO for Creative Inquiry at Carnegie Mellon University, Grisha joined Arizona State University's School of Arts, Music, and Engineering (AME), a part of the Herberger Institute for Design and the Arts, and the ASU School of Dance as an Assistant Professor of Movement, Computation and Digital Media in Fall 2008.

To develop her current project, echo::system, Coleman has worked with multiple collaborators working outside of specific art disciplines, conducting residencies for research and development at the Banff New Media Institute in Canada, Beall Center for Art and Technology at UC Irvine, and California Institute for the Arts.

The Mohr Visiting Artist Program is supported by Nancy and Larry Mohr and administered by the Stanford Arts Institute.

Thomas DeFrantz

Grisha ColemanVisiting Instructor; Duke University Professor of African and African American Studies. "I found performance studies as a space in the academy open to dance and corporeality studies. As a musical theater choreographer moving towards dance theater, performance studies offered a methodology for thinking through my own aeshetic motives, as well as the process of documenting those of others. As I began to engage in graduate work, I became fascinated by the many ways to imagine contexts for performance - including those that I continued to invent . My solo piece Monk's Mood: A Performance Meditation on the Life and Music of Thelonious Monk emerged not from a single course or faculty mentor within PS, but rather from the cumulative process of reflecting on the discipline of performance studies as a paradigm for something I might term corporeal investigation."

Tommy received his BA in Music Composition and Theater Studies from Yale and his MA in Liberal Studies from City College of New York before entering the PhD program in Performance Studies at NYU. Upon graduating, he was hired on at MIT where has continued to perform, direct, and choreograph, in addition to publishing and lecturing on African American Culture and performance. Thomas was on the editorial board for the Society of Dance History Scholars from 1996- 2002 as well as the board of directors from 1999-2002. At MIT, he served on the Women's Studies Steering Committee from 1999-2001.

Tommy's first book is an edited anthology entitled Dancing Many Drums: Excavations in African American Dance for the SDHS series Studies in Dance History. His second book, Revelations: Alvin Ailey’s Embodiment of African American Culture, received the 2004 de la Torre Bueno Prize for an Outstanding Dance Publication. His most recent publication, Back Performance Theory, is a collaboration with Anita Gonzalez released in 2014. He has also contributed chapters to various edited volumes on dance.

He serves as archivist for the Alvin Ailey American Dance Theater, organizes the dance history program at the Ailey school, and recently choreographed Paul Robeson, All-American, by Ossie Davis. He also collaborated with Ballet Hispanico on Border Crossings, and is active with the Theater Offensive of Boston, who will produce his original musical play, Queer Theory: An Academic Travesty, in 2003. Professor DeFrantz is a member of the Drama League of New York, the Dance Critics Association, serves on the editorial board of the Society of Dance History Scholars, and is recipient of grants from the Ford Foundation and the Rockefeller Foundation.

Ryan Guzzo Purcell

Ryan PurcellVisiting Instructor; Directing. Ryan Guzzo Purcell is a theatre director, teacher, and artist originally from Seattle. He is the Associate Artistic Director of Magic Theatre in San Francisco, where he has directed Christina Anderson’s pen/man/ship and Joshua Harmon’s Bad Jews, along with developing work with Lloyd Suh, Theresa Rebeck, Taylor Mac, Lauren Gunderson, and others. He is also the founder and artistic director of The Williams Project, a theatre company devoted to creating exceptional theatre that pays a living wage while also being accessible to the community. Other directing credits include The Hangar Theatre, Intiman Theatre, LaMaMa ETC, The Olney Theatre Center, The Village Gate, and Brown Playwrights Rep. He has received a Fulbright Scholarship in Directing, a Drama League Directing Fellowship, and a 2014 Princess Grace Award. His teaching credits include Stanford University, Brown University, American Conservatory Theatre, and San Francisco Juvenile Detention. He received his MFA from Brown University/Trinity Repertory Company.