Farley P. Richmond
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CURRICULUM VITAE
Farley Richmond

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OFFICE ADDRESS

Department of Theatre and Film Studies
University of Georgia
Fine Arts Building
Athens, Georgia 30602–3154

Telephone: 706–542–2089
e-mail: richmond@uga.edu
FAX: 706–542–2080


HOME ADDRESS

264 Dearing Street
Athens, Georgia 30605

Telephone: 706–227–1780
Cell phone: 706–254-5374
e-mail: kutiyattam@aol.com
FAX: 706–227–0666


EDUCATION

Ph.D. - Michigan State University - 1966

MFA - University of Oklahoma - 1961

BFA - University of Oklahoma - 1960


EMPLOYMENT HISTORY

Professor and Director of the Center for Asian Studies University of Georgia September 1999 to Present
Professor and Head Department of Drama and Theatre University of Georgia July 1997 to June 2000
Professor and Chair Department of Theatre Arts University at Stony Brook (SUNY) Sept. 1987 to June 1997
Professor and Chair Department of Theatre Michigan State University April 1982 to August 1987
Professor Michigan State University July 1980 to March 1982
Associate Professor Michigan State University July 1972 to July 1980
Assistant Professor Michigan State University December 1966 to July 1972

ACADEMIC RESPONSIBILITIES

As faculty member and Head of the Department of Drama and Theatre, University of Georgia (as well as that of Chair of the Department of Theatre Arts, University at Stony Brook and the Department of Theatre, Michigan State University) my duties have fallen into four major categories—administrative, teaching, directing, and committee work.

Administrative

Beginning in Fall 1999 I assumed the duties as Director of the Center for Asian Studies where I have continued to serve until today. The objective of the Center has been to expand the activities of the Center and to broaden its base in the area of South Asian Studies. Beginning July 1, 1997 I assumed the position of Head of the Department of Drama and Theatre, University of Georgia.  In this short period, the faculty has begun a process of reorganization and self assessment which has included restructuring the standing committees, developing a process of election to the committees, reassessment of the function of the committees, and developing department bylaws.  In addition, the production program has begun to attract a wider range of audiences and to build the substantial subscription base.

Beginning in September 1987 I assumed the position of Chair of Theatre Arts at Stony Brook charged to revitalize the program and to focus its academic and production missions.  Since that time the department was admitted to NAST, formed a mission statement identifying multi-cultural concerns and interactive media as its focus, revised its undergraduate curriculum, shaped a Ph.D. proposal, expanded its undergraduate and graduate enrollments, added dance and increased the number of full time faculty, expanded the size of its audience base and increased attendance at the productions several fold, opened a fully computerized classroom and innovation lab connected directly to the World Wide Web, created a joint venture with the Departments of Art and Music to develop a creative lab for development of art and performances using the computer, became active in the Humanities Institute, increased the number of adjunct professional teachers from Manhattan, and began an active program of placement of our graduates in New York theatre organizations.

At Michigan State I helped to inaugurate a new 20.1 million dollar performing arts center of which the Department of Theatre was a principal user;  we developed new bylaws and policy statements;  and I supervised a highly successful, primarily student operated, free theatre program during the summer.  In the Summer of 1987 we inaugurated a second summer theatre at Blue Lake, Michigan on a five year grant which I negotiated with a summer camp for over $100,000.  I personally oversaw the development and review of documents seeking admission to NAST.  Michigan State was admitted to NAST in 1988.

Teaching

At the University of Georgia I have taught Drama 2000, the most popular theatre course on campus serving almost fifteen hundred students per year. I have also taught classes in Asian theatre and Indian theatre, as well as those in script analysis and directing.

At Stony Brook I regularly taught Understanding Theatre, our largest class with over 150 students, as well as Asian Theatre and Drama on the undergraduate and graduate levels.  At Michigan State I taught a wide range of courses, including Introduction to Theatre, Beginning and Intermediate Acting, Basic Direction, and many courses in Asian theatre to BA, MA, MFA, and Ph.D. students.

Directing

I have directed a wide range of plays, a representative list of which is included at the end of this vitae.

Committee Responsibilities

Until recently, I served as a representative the Center of Humanities and Arts, as well as a committee to promote the study of South Asia and India on campus and in the community. Recently, I served on the University Tenure Committee.

At the University at Stony Brook, I served on numerous committees, including the Advisory Board of the Humanities Institute, the Executive committee of the Staller Center for the Arts, and the Academic Senate.  In 1996–97 I served as faculty representative on the Faculty, Staff, Student Annual retreat and the International Conference on African Literature.  Along with a professor of Linguistics, I helped to form the Center for Indian Studies and develop the minor and major in Indian Studies.  I also served on the board of the India Society of Stony Brook.  On the state level I served on a planning committee for the 1996 Faculty and Academic Computing Technology conference organized by SUNY’s Office of Educational Technology.  Along with representatives from many units on campus I helped to shape the 5-Year Plan submitted to our president. 

At Michigan State for a time I served as faculty liaison to the Board of Trustees representing the University committee on Faculty Tenure.  The duties of this committee included serving on two dismissal hearings for cause of tenured faculty members and formation of policy statements concerning tenure in times of financial stress and exigency.  I was involved in numerous committees of the university, college, and the Asian Studies Center, where I served as Assistant Director for South Asian Studies from 1979 to 1981. 

On a professional level, I am a member of the Board of the World Vedic Association and Past President of the Southeast Conference of the Association for Asian Studies, as well as a founding member of the Association for Asian Performance created in 1965 which is affiliated to ATHE. I served as Chair of the organization for a time.


SELECTED PUBLICATIONS

Books:
Plays of Provocation. Volume 2. Kendall/Hunt Publishing Company, 2000.

            Plays of Provocation. Dubuque, Iowa: Kendall/Hunt Publishing Company, 1999.

            Theatre, The Collaborative Art: A Worktext with Readings by Prominent Experts. Dubuque, Iowa: Kendall/Hunt Publishing Company, 2000. Second Edition. Revised Printing.

            Indian Theatre: Traditions of Performance with Darius L. Swann and Phillip B. Zarrilli. Honolulu: University of Hawaii Press, 1990.

CD-ROM:

            Kutiyattam: Sanskrit Theater of India (CD-ROM). Ann Arbor: The University of Michigan Press, 2002.

Books Edited and Co-edited:
Contributing Editor for South Asian Theatre: The Cambridge Guide to World Theatre. General Editor: Martin Banham. New York: Cambridge University Press, 1989. Reissued in The Cambridge Guide to Asian Theatre, 1991. Paperback Edition, 1993.

            Contributing Editor for South Asian Theatre terms: An International Dictionary of Theatre Language. General Editor: Joel Trapido. Westport, Connecticut: Greenwood Press, 1985.

Chapters in Books:
“South Asian Theatres,” The Oxford Illustrated History of Theatre. Edited by John Russell Brown. Oxford: Oxford University Press, 1995.

            “Contemporary Indian Theatre,” Theatre Companies of the World. Edited by William C. Young and Colby H. Kullman. Westport, Connecticut: Greenwood Press, 1985.

            “Suggestions for Directors of Sanskrit Plays,” Sanskrit Drama in Performance. Edited by Rachel Van M. Baumer and James R. Brandon. Honolulu: University of Hawaii Press, 1981. 74-109.

Articles:

            “The Production of Holy Water: The Contribution of Puppeteers to Balinese Life Cycle Rituals,” with I Nyoman Sedana. Southeast Review of Asian Studies, Vol. 27 (2005),  159­–171 and online at www.uky.edu/Centers/Asia/SECAAS/Seras/2005/2005TOC.html.
“Architecture and Design Elements in Ritual and Religious Drama in India,” with Richard E. Dunham. Theatre Design and Technology, 39, 2 (2003), 37-49 and
www.usitt.org/tdt.index/extras/39-2india.html.

            “On the Margins of Time and Space: Performance and Performance Sites of Hindu Temples,” with I Nyoman Sedana. Chandigar: Panjab University Press, 1999 and The Puppetry Yearbook, ed. James Fisher, The Edwin Mellen Press, Vol. 5, 2002, 1-32.

            “Kutiyattam: Marriage of an Ancient Art and the New Technology,” Journal of Educational Technology Systems, 24, 2 (1995-96), 165-171.

            “The Multiple Dimensions of Time and Space in Kutiyattam, the Sanskrit Theatre of Kerala,” with Yasmin Richmond, Asian Theatre Journal, 2.1 (Spring, 1985), 50-60.

            “The Rites of Passage and Kutiyattam,” Sangeet Natak 50 (Oct.–Sept., 1978), 27-36. Also published in The Communication of Ideas. Edited by J.S. Yadava and Vinayshil Gautam. New Delhi: Concept Publishing Co., 1980. 25-38.

            “Indian Theatre at Michigan State University,” Sangeet Natak 32 (April-June 1974), 40-47.

            “The Visnava Drama of Assam,” Educational Theatre Journal (May, 1974), 145-163.

            “The Political Role of Theatre in India,” Educational Theatre Journal 25, 3 (October 1973), 318-334.

            “Selected Crafts of Traditional Indian Theatre,” The Times of India Annual, 1972, 29-36.

            “The Social Role of Theatre in India,” Sangeet Natak 25 (July–Sept. 1972), 64-81.

            “Some Religious Aspects of Indian Traditional Theatre,” The Drama Review, XV, iii (Spring 1971) 122-131.

            “Purulia Chhau: An Introduction,” Keli (Cochin, Kerala) viii (1971) 15-21. Later published as a brochure by The Asia Society, New York.

            “Sanskrit Plays Abroad, The Times of India Annual, 1971, 39-48.

Book Reviews:
Rasa: Performing the Divine in India (Swartz) for Theatre Journal, October 2005. With Linda White Chastain.
Nangiar Koothu: The Classical Dance-Theatre of the Nangiar-s (Paniker) for the Asian Theatre Journal, Spring, 1995.

            Staging A Sanskrit Classic: Bhasa’s “Vision of Vasavadatta” (Sarabhai and Mitchell) for the Asian Theatre Journal, Fall, 1993.

            Production of a Play in Kutiyattam (Venu) for the Asian Theatre Journal, Fall, 1992.

            The Story of the Calcutta Theatres: 1753–1980 (Mukherjee) for the Asian Theatre Journal, Fall, 1987.

            At Play with Krishna (Hawley) and Javanese Wayang Kulit (Van Ness and Prowirohardja) for Comparative Drama, Fall, 1982.

            Indian Dances: Their History and Growth by Rina Singha and Regionald Massey for Modern Drama..

            Kathakali: The Dance-Drama of Kerala by Clifford and Betty True Jones for The Journal of the American Oriental Society.

            The Miracle Plays of Mathura by Norvin Hein for the Journal of the American Oriental Society.


CREATIVE CONTRIBUTIONS:

2006 The Magic Flute (Mozart) Chicago Cultural Center (Professional)
2005 Noises Off (Frayn) University of Georgia
2005 Antigone (Anouilh) University of Georgia
2004 The Little Clay Cart (Sudraka) University of Georgia
2001 The Playboy of the Western World (Synge) University of Georgia
2000 The Crucible (Miller) University of Georgia
1998 All in the Timing (Ives) University of Georgia
1997 The Heidi Chronicles (Wasserstein) University of Georgia
1995 Oleanna (Mamet) SUNY/Stony Brook
1994 The Diary of Anne Frank (Goodrich & Hackett) SUNY/Stony Brook
1993 Silence! The Court is in Session (Tendulkar) SUNY/Stony Brook
1992 M. Butterfly (Hwang) SUNY/Stony Brook
1991 What the Butler Saw (Orton) SUNY/Stony Brook
1990 Curse of the Starving Class (Shepard) SUNY/Stony Brook
1989 Supervised production of The Kutiyattam Ramayana with the assistance of two guest professional artists from India SUNY/Stony Brook
1988 Hurlyburly (Rabe) SUNY/Stony Brook
  The Merry Wives of Windsor (Shakespeare) SUNY/Stony Brook
1987 The Normal Heart (Kramer) Michigan State University
1985 The Dining Room (Gurney) Michigan State University
  West Side Story (Bernstein, et.al.) Michigan State University
  Hayavadana (Karnad) Michigan State University
1984 Les Belles Soeurs (Tremblay) Michigan State University
  The Queen and the Rebels (Betti) Michigan State University
1983 Summer and Smoke (Williams) Michigan State University
  Hotel Paradiso (Feydeau and Desallieres) Michigan State University
  Oliver! (Bart) Michigan State University
1982 A Midsummer Night’s Dream (Shakespeare) Michigan State University
  Supervised production of Funa Benkei (Zeami) with a guest professional artist from Japan and directed Parting Reeds (Tyler) and The Lady Aoi (Mishima) in a program entitled, Classical and Modern Noh Plays of Japan Michigan State University
1981 The Comedy of Errors (Shakespeare) Michigan State University
  The Madwoman of Chaillot (Giraudoux) Michigan State University
  Medea–A Noh Cycle (Sorgenfrei) Michigan State University
  The Matchmaker (Wilder) Michigan State University
1980 The Jade Dragon (Richmond) Michigan State University
1979 When You Comin Back Red Ryder (Medoff) Michigan State University
  Antony and Cleopatra (Shakespeare) Michigan State University
  Sakharam Binder (Tendulkar) Michigan State University
  Death of a Salesman (Miller) Michigan State University
1978 African Folk Tales (Richmond) Michigan State University
  Jesus Christ Superstar (Rice) Michigan State University
  Tales of an Indian Princess (Richmond) Michigan State University
1977 The Rainmaker (Nash) Michigan State University
  The Little Clay Cart (Sudraka) Michigan State University
1976 The Infernal Machine (Cocteau) Michigan State University
  Surpanakha, or the Amorous Demoness (Saktibadhra) in an outdoor program of Kutiyattam          Michigan State University
  The Crucible (Miller) Michigan State University
1974 Phaedra (Racine) Michigan State University
1973 The Jumbled Heads (Karnard) Michigan State University
1972 Animal Farm (Orwell) Michigan State University
1971 The Enchanted (Giraudoux) Michigan State University
  Village Plays of India: A performance of Yakshagana, Bhavai, and Purulia Chhau in an outdoor program   Michigan State University
Documentary Videos created between 1979 and 1981, conceived, scripted, and introduced by Farley Richmond currently available from the Instructional Media Center, Michigan State University and Insight Media, New York. Consult the following titles at http://www.insight-media.com/IMHome.htm
  Kabuki Acting Techniques I: The Body (60:00) with Leonard Pronko
  Kabuki Acting Techniques II: The Voice (29:00) with Leonard Pronko
  Acting Techniques of the Noh Theatre of Japan (28:55) with Akira Matsui
  Acting Techniques of Topeng, Masked Theatre of Bali (38:48) with John Emigh
  Kalarippayatt, Martial Art of India (35:00) with Phillip Zarrilli
  Acting Techniques of Kutiyattam, Sanskrit Theatre of India (54:55) with Farley Richmond
  Asian Concepts of Stage Discipline and Western Actor Training (33:00) with A.C. Scott
  Conversation with A.C. Scott (28:00)
  Kabuki for Western Actors and Directors (40:00) with Leonard Pronko
  Actor Training and Kalarippayatt, Martial Art of India (45:30) with Phillip Zarrilli
  Adapting Topeng, The Masked Theatre of Bali (45:45) with John Emigh
  Noh, The Classical Theatre of Japan (28:55) with Akira Matsui
  From India to East Lansing–Surpanakha, Producing a Sanskrit Drama (31:00) with Farley Richmond
  Surpanakha (The Amorous Demoness), a kutiyattam play in performance (90:44)

GRANTS RECEIVED:

2003–2006 Teaching East Asia in Schools Freeman Foundation
2001 Topeng Masked Dance Drama and Ritual Practices in Balinese Hindu Temples UGARF, University of Georgia
1998 Asian Theatre Teaching Material UGA Office of Instructional Support and Development
1991 Gesture as Language in Kerala State, South India American Institute of Indian Studies, Chicago, and the National Endowment for the Humanities, Washington, D.C.
1988 Kutiyattam Actors to Stony Brook Asian Cultural Council of New York
1987 Documentary Film of Kutiyattam Invited guest of the Department of Tourism, Government of India
1985 Contemporary Indian Theatre Senior Fulbright Grant to India
1981   Japanese Noh Actor to Michigan State Japan Foundation
1980 Research Tour to India MSU, Research Initiative Grant
1979 Video tape Development Project MSU, Educational Development Program
1978 Travel Grant to New Delhi, India  MSU, International Programs Travel Grant
1977 Research on Kutiyattam Theatre MSU, Humanities Research Center
1976 Director of a Summer Seminar Tour Program to India for 20 faculty of departments of Music, Dance, & Drama throughout the USA Kansas City Regional Council for Higher Education and US Office of Education
1974 Travel Grant to Kerala, India MSU, International Program Travel Grant
1971 Travel to India to Study Sanskrit Theatre MSU, Humanities Research Center
1969 Travel and Research in India to Study  
  Classical Sanskrit Play Production JDR 3rd Fund of New York
1967 Sanskrit Language training  Ford Foundation Summer Fellowship
1964 Contemporary Theatre in India Fulbright–Hays Student Research Grant to support Ph.D. dissertation research

PROFESSIONAL AFFILIATIONS

Association for Asian Studies
Association for Asian Performance
Southeastern Conference of the Association for Asian Studies
World Association for Vedic Studies

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The University of Georgia Franklin College Department of Theatre and Film Studies