Stemming from a principal focus on Golden Age theater, my studies have shifted over the course of my career, all the while maintaining a strong connection to drama. Transitioning from Lope de Vega and Calderón de la Barca during my undergraduate years to Antonio Buero Vallejo and Alfonso Sastre during my Master's program, my doctoral dissertation focused on Valle-Inclán's esperpentos, recognizing a latent, albeit ever present, current of death and decay in his works. His esperpentos, the culmination of this erosive creative process, reflect a stark, unrepentant image of a society in artistic and cultural ruin. I have published articles on don Juan's alleged 'anonymity' and La Cava's gradual emergence as a vocal character in Gestos and Modern Language Notes, respectively.
I am presently working on three articles: first, I am writing about my experience acting as Don Quijote during BYU’s 2005 adaptation of Las cortes de la muerte for a special edition of eHumanista Cervantes; second, I am revising a comparative study that recognizes Juan Manuel's didactic influence on Juan Ruiz de Alarcón's La verdad sospechosa; and third, I am investigating the relationship between Valle-Inclán and wolves at both the literal and metaphorical levels, attempting to determine their impact and meaning throughout his life and works.
Modern Language Notes 132.2 (2017): 255-71.
Taking into account the historical development of the legend of La Cava, the daughter of Count Julián, I observe her metamorphosis from a silent figure, purely used as a narrative device during the medieval era, into a vocal, responsive, and willful character during the Siglo de Oro. Beginning with early medieval accounts, advancing through various romances, and culminating with her Golden Age appearance in Lope’s 1599 comedia, El postrer godo de España and Moreto's 1655 Baile entremesado del rey don Rodrigo y la Cava, I determine that her earlier, silent manifestations strongly parallel qualities of the subaltern, whereas her later forms evince a thoughtful, active, and thoroughly outspoken figure.
Gestos 58 (2014):51-63.
An investigative study into the meaning behind the proper name that takes off from don Juan's refusal to provide his identity to Isabella at the beginning of the Golden Age play, El burlador de Sevilla. In the article, I range over several theorists--Kripke, Soames, Nietzsche, and Camus--but chiefly use Deleuze and Guattari to explore the reasons behind don Juan's anonymity. I determine, in effect, that don Juan, by withholding his proper name, is able to traverse a theoretical line of flight, resist classification, and consequently achieve total seductive freedom.
“When Shadows Move: The Art of Outreach through Shadow Puppets.” Co-authored with Dr. Esther Fernández,
Dr. Jonathan Wade, and Dr. Jason Yancey. Living the Comedia. Essays in Honor of Amy Williamsen. Vol. II.
New Orleans: UP of the South, 2020. (Forthcoming)
Review of Contornos de la narrativa española. Un diálogo entre creadores y críticos.
Transmodernity: Journal of Peripheral Cultural Production of the Luso-Hispanic World. Vol. 2.1 (2012): 88-91.
Review of La Celestina.
Bulletin of the Comediantes, vol. 69.1 (2017): 187-89.
Review of El coloquio de los perros.
Bulletin of the Comediantes, vol. 68.1 (2016). 241-43.
Review of Jazz Club Polonia.
Bulletin of the Comediantes, vol. 63.2 (2011). 160-62.
Review of Casa con dos puertas mala es de guardar.
Bulletin of the Comediantes, vol. 62.2 (2010). 157-59.
“Second Hands and the Ladies’ Man.”
Educational outreach visits with fellow members of Dragoncillo to local Elementary and Middle schools. El Paso, TX. April, 2019.
“La cruz y el caballero: Albert Camus’s Translation and Production of La devoción de la cruz and El caballero de Olmedo.”
Brigham Young University. Provo, UT. March, 2019.
“Siglo in the Classroom.”
Workshop hosted by the National Park Service at the Chamizal National Memorial. El Paso, TX. February 2010.
“A Nightmare Portrayed in Buero Vallejo’s El sueño de la razón.”
Chapman University. Orange, CA. April 2009.
“How to Train a Dragon: Reaching Young Audiences through Shadow Puppets.”
In conjunction with Jason Yancey, Esther Fernández, and Jonathan Wade, co-members of Dragoncillo puppet troupe. Association for Hispanic Classical Theater (AHCT)'s Annual Symposium on Golden Age Theater. El Paso, TX. April 2019.
"Mysticism's Misfits: El peregrino raro and the perils of alumbradismo."
American Association for Teachers of Spanish and Portuguese (AATSP)'s 100th Annual Conference. Salamanca, Spain. June 2018.
"La cruz y el caballero: Albert Camus's Translation and Production of La devoción de la cruz and El caballero de Olmedo."
AHCT's Annual Symposium on Golden Age Theater. El Paso, TX. April 2018.
"A Vengeful Canvas: Painter's Block and Hidden Intent in El pintor de su deshonra."
AHCT's Annual Symposium on Golden Age Theater. El Paso, TX. April 2017.
"Moral Mentorship: Juan Manuel's Literary Influence on Alarcón's La verdad sospechosa."
AHCT's Annual Symposium on Golden Age Theater. El Paso, TX. April 2016.
"Inaudible Resistance: How La Cava Found Her Voice."
AHCT's Annual Symposium on Golden Age Theater. El Paso, TX. April 2015.
"From Above, Looking Down: The Modernist Origins of the esperpento in Ramón del Valle-Inclán's Los cuernos de don Friolera."
UCLA's 10th Annual Graduate Student Conference. Los Angeles, CA. April 2013.
"Reaching Out to Classrooms and Communities: Practical Tools for Teaching Early Modern Spanish Drama."
AHCT's Annual Symposium on Golden Age Theater. El Paso, TX. April 2011.
"Dehumanizing the Spanish Portrait: Progressive Abstraction in Picasso's Self-Portraits."
Mormon Scholars in the Humanities (MSH) Conference. Orem, UT. 2011.
"Kierkegaard and Unamuno: Philosophical Anguish from Familial Crisis."
MSH Conference. Claremont, CA. 2010.
"'¿No será fácil que yo venga a enseñarla?' How to Teach El caballero de Olmedo to Multiple Audiences."
AATSP's 88th Annual Conference. Salamanca, Spain. June 2006.
"Playing with Belisa."
AHCT Annual Symposium on Golden Age Theater. El Paso, TX. April 2010.
Working group for Lope de Vega's Lo fingido verdadero.
American Society for Theater Research's Conference. San Juan, Puerto Rico. 2009.