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,' La Cava's gradual emergence as a vocal character, my role as don Quijote in BYU’s adaptation of Las cortes de la muerte, and the difficulties associated with staging Valle-Inclán’s late theater in Gestos, Modern Language Notes, eHumanista Cervantes, and Arizona Journal of Hispanic Cultural Studies, respectively.
I am presently working on three articles: first, I am editing an article on Albert Camus’s translation of two Spanish Golden Age comedias; 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.
I recently embarked on a book project that explores the curious fascination and close affiliation Albert Camus felt towards Spain, especially evident during its Civil War. Tentatively titled Albert Camus and Spain, my manuscript discusses the multiple ways that Camus connected with Spaniards and their culture throughout his lifetime—from his political interventions, his literary and theatrical works, and his journalistic pieces.
PEER-REVIEWED ARTICLES
“RESISTING REPRESENTATION: SPANISH SOCIETY IN VALLE-INCLÁN’S LATE THEATER.”
Arizona Journal of Hispanic Cultural Studies 27 (2023): 209-22. doi: https://doi.org/10.1353/hcs.2024.a920073
This study revisits Valle-Inclán’s later theatrical works (1920-1927), describing the inherent difficulties associated with their representation, and proposes that such complications derive from a complex dialectic between the playwright’s incisive focus on societal decadence and his own society’s resistance to such depictions. From the farcical to the fanatical, I consider Valle-Inclán’s stubborn devotion to his evolving esperpento aesthetic, the prohibitive measures taken by the Spanish government to censor his plays, and the curious restrictions applied by Valle-Inclán himself, all of which have created a form of theater that resists representation.
"An Everyman Knight Errant: Performing Don Quijote in Las cortes de la muerte"
eHumanista Cervantes 8 (2020): 192-202.
In a special issue of eHumanista Cervantes titled “Teatralidad en la obra de Cervantes,” my article describes the unique experience I had as a graduate student of portraying Don Quijote in an adaptation of Las cortes de la muerte by Brigham Young University’s Spanish Golden Age Theater program. In the production, Don Quijote and Sancho stumble into the auto and adopt the roles of Hombre and Ángel, respectively. This unique combination brokers new intertextual possibilities that enhance the dramatic experience: as an everyman knight errant, Don Quijote’s literary identity folds into the religious character of Hombre; Sancho’s faithful companionship translates into Ángel’s constant camaraderie; and the auto’s glancing references to giants, disenchantments, and shepherds resonate with common themes explored throughout the Quijote.
"inaudible resistance: how la cava found her voice"
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.
"an anonymous don juan: the meaning of the proper name"
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.
COLLABORATIVE ARTICLES
“In the Beginnning There Were Dragon(cillo)s: Using Shadow Puppetry to Engage Young Audiences.”
Co-authored with Dr. Esther Fernández, Dr. Jonathan Wade, and Dr. Jason Yancey. Open Library of the Humanities. 8.1 (2022) doi: https://olh.openlibhums.org/article/id/4791/
“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. 45-57.
BOOK REVIEW
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.
PLAY REVIEWS
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.
INVITED PRESENTATIONS
“Spanish Classics on the Puppet Stage: Student Performers and Community Outreach.”
Fall faculty colloquium at Hillsdale College. Hillsdale, MI. October 2022.
“Fool-itos”
Shadow puppet performance with fellow members of Dragoncillo at the LA Escena Theater Festival. Los Angeles, CA. September 2022.
“Second Hands and the Ladies’ Man.”
Educational outreach visits with fellow members of Dragoncillo to Will Carleton Academy and Hillsdale College. Hillsdale, MI. November 2021.
“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.
CONFERENCE PRESENTATIONS
2022
“Classics Beyond the Shadows.”
Presentation with Jason Yancey, co-founder of Dragoncilllo puppet troupe. “Comedia Practices” Conference. University of California, Los Angeles. September, 2022.
2020
“When Shadows Move: From Medieval and Early Modern Puppetry to Contemporary Performance and Outreach."
Presentation with Jason Yancey and Esther Fernández, co-founders of Dragoncillo puppet troupe. “Puppet Theatre": In the Beginning There Were Puppets” Conference. University of Salzburg, Austria. January 2020.
2019
“How to Train a Dragon: Reaching Young Audiences through Shadow Puppets.”
In conjunction with Jason Yancey, Esther Fernández, and Jonathan Wade. Association for Hispanic Classical Theater (AHCT)'s Annual Symposium on Golden Age Theater. El Paso, TX. April 2019.
2018
"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.
2017
"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.
2016
"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.
2015
"Inaudible Resistance: How La Cava Found Her Voice."
AHCT's Annual Symposium on Golden Age Theater. El Paso, TX. April 2015.
2013
"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.
2011
"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.
2010
"Kierkegaard and Unamuno: Philosophical Anguish from Familial Crisis."
MSH Conference. Claremont, CA. 2010.
2006
"'¿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.
WORKING GROUPS & Roundtables
2024
“Early Modern Iberian Theater for Teaching.”
Renaissance Society of America Annual Conference. Chicago, IL. March 2024.
2010
"Playing with Belisa."
AHCT Annual Symposium on Golden Age Theater. El Paso, TX. April 2010.
2009
Working group for Lope de Vega's Lo fingido verdadero.
American Society for Theater Research's Conference. San Juan, Puerto Rico. 2009.
INTERVIEWS
2023
“Professor Performs with Shadow Puppets.” The Collegian. Hillsdale College. Hillsdale, Michigan, Mar. 2023
2022
Interview with Scot Bertram on The Hillsdale Radio Hour. Hillsdale, Michigan, Oct. 2022
2021
By Stephanie Gordon. Student Stories Blog. Hillsdale College. Hillsdale, Michigan. Dec. 2021.
“Newest Spanish Professor Is the ‘Dream Colleague.’”
By Elyse Hawkins. The Collegian. Hillsdale College. Hillsdale, Michigan. Oct. 2021.
2019
“Bringing the Classroom to the Community: Jared S. White.”
By Cody Holtgrewe. The Tack. Buena Vista University. Storm Lake, Iowa. Oct. 2019.
“Investing in Cultural Knowledge: Wythe Finalist Dr. Jared White.”
By Aubrey Anderson. The Tack. Buena Vista University. Storm Lake, Iowa. May 2019.