Yana MEERZON

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Yana MEERZON
Member of the Faculty of Graduate and Postdoctoral Studies and thereby authorized to supervise theses and Associate Professor, Department of Theatre

2003 – PhD Graduate Centre for Study of Drama, University of Toronto
1996 – BA, MA Russian Academy of Theatre Arts [with distinction]

SMN 304-B

Office: 613-562-5800 ext. 2243

Work E-mail: ymeerzon@uOttawa.ca

Yana Meerzon

Biography

Member of the Faculty of Graduate and Postdoctoral Studies and thereby authorized to supervise theses.

Yana Meerzon holds a PhD from The Graduate Centre for Study of Drama, University of Toronto (2003). Her research interests are in the areas of drama and performance theory, theatre semiotics and communication, theatre of exile and immigration, and Russian theatre.

She has completed a study on Michael Chekhov's acting theory and pedagogy, published under the title A Path of the Character: Michael Chekhov's Inspired Acting and Theatre Semiotics, by Peter Lang Publishing House, 2005.

Her research project “Theatricality and Exile” has been sponsored by the Social Sciences and Humanities Research Council (SSHRC). Her manuscript Performing Exile – Performing Self: Drama, Theatre, Film is published by Palgrave Macmillan, 2012.

Distinctions

The O’Neill Award. Honorable Mention. Best edited collection published in English. Canadian Association for Theatre Research, 2016.

Meerzon, Y., Prince, K., & Dean, D. (eds.). History/Memory/Performance. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2015.

Richard Plant Award. Best article, Canadian Association for Theatre Research, 2011.

“The Exilic Teens: On the Intracultural Encounters in Wajdi Mouawad’s Theatre”. Theatre Research in Canada, vol. 30, no.1-2, 2009, 99-128.

Prix André G. Bourassa, Best article, Société québécoise des études théâtrales, 2005.

“Pour une esthétique de la représentation utopique: son, signe et langage théâtral international chez Michael Tchekhov”, L'Annuaire théâtral, 38, 2005, 119-138.

Research and publications

Books

Performing Exile – Performing Self: Drama, Theatre, Film. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2012.

A Path of the Character: Michael Chekhov's Inspired Acting and Theatre Semiotics. Heidelberg : Peter Lang Publishing House, 2005.

Editorship

Meerzon, Y. (ed.) “Michael Chekhov and Contemporary Acting Pedagogy” Critical Stages, June 2017 (in progress)

Meerzon, Y. (ed.) "Semiotics of Sound: Toward the Architecture of Acoustics and Aurality in Postdramatic Theatre", RECHERCHES SEMIOTIQUES/SEMIOTIC INQUIRY, v. 36, Spring 2017 (in progress)

Meerzon, Y. (ed.) “Theatre and Immigration” (special issue), Theatre Research in Canada, vol. 36, no. 2 (Fall 2015).

Meerzon, Y., & Autant-Mathieu, M.C. (eds.). The Routledge Companion to Michael Chekhov. London; New York: Routledge, 2015. [2017 – in paper-back ] (https://www.routledge.com/products/9780415710183)

Meerzon, Y., Prince, K., & Dean, D. (eds.). History/Memory/Performance. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan. 2015. (http://www.palgrave.com/page/detail/history-memory-performance-david-dean/?K=9781137393883)

Meerzon, Y.; Clayton D.J. (eds.) Adapting Chekhov: The Text and Its Mutations New York: Routledge, 2012. [2015 - in paper-back)

Meerzon, Y., & Jestrovic, S. (eds.) Performance, Exile and America. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2009.

Guest Editor (with Eli Rozik), Journal of Dramatic Theory and Criticism. Special issue: Semiotic Analysis of Avant-Garde Performance, vol. XXII, no. 2, Spring 2008.

Guest Editor. Semiotica. Special Issue on Drama and Performance, vol. 168, no. 1/4 (2008).

Guest Editor (with Olson, J.M.). Slavic and East European Drama and Theatre. Toronto Slavic Quarterly, 2004. Summer. N.9; and 2003. Spring. N.4

Guest Editor (with Ambros, V., Couture, D., Jestrovic, S., & Mackay-Bennett, J.). Modern Drama. “Theatre and Exile” Issue, Spring 2003.

Articles

“To the Poetics of Affect: Staging Sound in Wajdi Mouawad’s Theatre of Compassion” RECHERCHES SEMIOTIQUES/SEMIOTIC INQUIRY, v. 36, Spring 2017 (in print)

"On Expressionistic Mysterium: Michael Chekhov’s Tragic Character on Page and on Stage", Stanislavski Studies, 4 (1), Fall 2016. [http://www.tandfonline.com/doi/full/10.1080/20567790.2016.1234022]

"Michael Chekhov’s Theatre Theory and Pedagogy of Theatre Adaptation", Critical Stages, no. 2, December 2015 [http://www.critical-stages.org/12/michael-chekhovs-theatre-theory-and-pedagogy-of-theatre-adaptation/]

"Squaring the Circle: To the Poetics of Neighborhood in Sergei Dovlatov’s Émigré Writings", Toronto Slavic Quarterly, no. 54, Fall 2015 [http://sites.utoronto.ca/tsq/54/Meerzon.pdf]

"Theatre and Immigration: From the Multiculturalism Act to the Sites of Imagined Communities", Theatre Research in Canada, 36, 2, Fall 2015, 181-196.

"Between Je and Moi: Staging the Heteroglossia of Exilic Autobiography”, Theatre Research in Canada, 36, 2, 2015, 291-312.

"Staging the Spectator in Michael Chekhov’s Acting Theory", The Routledge Companion to Michael Chekhov., (Eds). Meerzon, Y., & Autant-Mathieu, M.C., London, Routledge, 2015, 123-139.

"Michael Chekhov's Theatre of the Future: Pros and Cons of the Failed Experiment", Stanislavski Studies, 3 (1), Spring 2015, 35-53.

"Between Intentionality and Affect: On Jan Mukarovsky's Theory of Reception and its Evolution", Theatralia, 4, 130-156, 2014.

"The Russian Souvenir". Comment: SOCHI 2014. Contemporary Theatre Review, 24.2, 2014. http://www.contemporarytheatrereview.org/2014/comment-sochi-2014

Zpátky do budoucnosti: Současné strukturalistické tendence v analýze divadla a performance”. Czech Theatre Review, vol. 3, 2013 [http://host.divadlo.cz/revue/index.php?src=aktualni.php]

“Taming of the Impulse: On The Wooster Group’s Acting Techniques and Methodologies”, Theatre, Dance and Performance Training, vol. 4(3), 2013, 381–398.

“Theatre of compassion in the works of Wajdi Mouawad”, Alt. Theatre. Journal, vol. 10.4, 2013, 26-32. http://teesridtheatre.weebly.com/current-and-back-issues.html

“Staging Memory in Wajdi Mouawad's Incendies: Archaeological Site or Poetic Venue?”,Theatre Research in Canada, v. 34, 1, 2013, 12-37.

"Concretization-Transduction-Adaptation. On Prague School Legacy in Theatre Studies Today", Theatralia, v. 2, 2012, 125-154.

“Theatre in Exile: Defining the Field as Performing Odyssey”, Critical Stages, no. 5, 2011.

Dancing On the X-rays: On the Theatre of Memory, Counter-Memory, and Postmemory in the post-1989 East-European Context”,  Modern Drama, vol. 54, 4, 2011, 475-506.

“On Theatrical Semiosphere of Postdramatic Theatrical Event: Rethinking the Semiotic Epistemology in Performance Analysis Today”. Semiotica, 185 – 1 / 4, 2011, 257-284.

“Searching for poetry: on improvisation and collective collaboration in the theatre of Wajdi Mouawad”. Canadian Theatre Review, 143, 2010, 29-34.

“On Theatre and Exile: Toward a Definition of Exilic Theatre as a Form of Glocalization”.The Local Meets the Global in Performance. Eds. Koski, Pirkko & Sihra, Melissa. Newcastle: Cambridge Scholars Publishing, 2010, 113-129.

“Russian Formalists’ Views of Film and Theatre Interdependence: Structural and Semiotic Reformulations. Actor - Naturschik - Film Figure: the Crossroads of Narratives.” Slavische Proto-Narratologie. Russische und Tschechische Ansätze. Ed. Wolf Schmid. Berlin/New York: W. de Gruyter, 2009.

“The “Our Town” of Russian Exile: On Theatricalization of American Landscape in the Russian Exilic Writings”; in Performance, Exile and ‘America’. Eds. S. Jestrovic & Y. Meerzon. Palgrave Macmillan: Houndmills, Basingstoke, Hampshire, 2009, 93-115

“Poetika Kino (Re)Considered: from Naturschik to Film Figure ”Structuralims(s) Today. Paris, Prague, Tartu. Eds. Ambros Veronika, Le Huenen Roland. Ottawa: Legas, 2009, 165-177.

“De l’utopia à la coomunitas: les expériences théâtrales de Michael Chekhov et les exilés de Dartington Hall” in Mikhaïl Tchekhov. Du théâtre au cinéma. De Moscou à Hollywood. Ed. Marie-Christine Autant-Mathieu, Paris : L'Entretemps, 2009, 333-362.

“The Exilic Teens: On the Intracultural Encounters in Wajdi Mouawad’s Theatre”. Theatre Research in Canada, vol. 30, no. 1-2, 2009, 99-128.

“Konstantin Stanislavski: A Theatre Director/Pedagogue and the Ideas of Collective Creation”. Stanislavsky and Directing. Theory, Practice and Influence. Ed. Migliarissi Anna. Toronto: Legas, 2008, 195-217.

“Actor – Puppet – Video Projection – Spectator – Fantasmagorie Technologique: Towards a Theory of a New Theatre Genre”, Semiotica,168, 2008, 203-227.

An Ideal City – Heterotopia or Panopticon? On Joseph Brodsky's play Marble and its fictional spaces” Modern Drama, 50.2, 2007, 184-210.

“Three Degrees of Defamiliarization: Rhythm and Action in Anton Chekhov's Drama” Chekhov. Poetics, Hermeneutics. Thematics. Ed. Clayton, Douglas. Ottawa: The Slavic Research Group OttawaU, 2006, 207-227.

Hamlet as Beauty. A Short Journey into the History of the Russian Hamlet Phenomenon”. Beauty. Ed. Daniel Meyer-Dinkgraffe. Newcastle: Cambridge Scholars Press, 2005, 131-146.

“Interpreting Diaspora: From Accented Character to Accented Audience”, New England Theatre Journal, 16, 2005, 71-97.

“Pour une esthétique de la représentation utopique : son, signe et langage théâtral international chez Michael Tchekhov”, L'Annuaire théâtral, 38, 2005, 119-138.

“Every Home is its Own Private Moscow: Between Geopathology and Nostalgia in Olga Mukhina's?/You”. Slavic and East European Journal, vol.19, no. 4, 2005, 639-658.

“Body and Space: Michael Chekhov's Notion of Atmosphere as the Means of Creating Space in Theatre”. Semiotica, 155, 2005, 259-281.

“Between the Scylla and Charybdis: Theatre Criticism as the Art of Translation and a Form of Immigration”. The Theatre of Translation. Translation Perspectives XII, 2003, 43–57.

"Chekhov in Toronto. For Russians and Non-Russians". Slavic and East-European Performance, 21/3, 2003, 60-65.

"Forgotten Hollywood. Michael Chekhov's Film Practice Viewed through the Aesthetics of the Prague Linguistic Circle". Toronto Slavic Annual, 1, 2003, 219-229.

“Dialogue as Performance – Object, Sign, and Vehicle of Communication. The Usage of Internet as New Language, Stage Object, and Set in Patrick Marber's Closer”. On-Stage Studies Journal, 24, 2002. 55-70.

“To Be What You Are. To the Problem of Staging East-European Drama in Canada ”. Slavic and East-European Performance, 21/1, 2001, 29.

Articles co-authored

Meerzon, Y., & Meyer-Dinkgrafe, D. “In Transit: Wajdi Mouawad’s Scorched in Bremen, Germany as Theatre of Anticipation”, Critical Stages, no. 2, December 2016 (Accepted June 2016)

Meerzon, Y., & Davis, N. "On Exile, Loss and Repetition: The Struggles of Everyday", Performance Research, On Repetition 20.5, 2015, 63-69. (http://www.tandfonline.com/doi/full/10.1080/13528165.2015.1095941)

Meerzon, Y., Poore, B., & Meyer-Dinkgrafe, D. “Nostalgia” in Observing Theatre. Spirituality and Subjectivity in the Performing Arts; Ed. Meyer-Dinkgrafe, Daniel. Amsterdam – New York; Rodopi, 2013, 15-61.

Meerzon, Y., & Priven, D. “Back to the Future: Imagining a New Russia at the Eurovision Song Contest?”, Performing the ‘New’ Europe: Identities, Feelings, and Politics at the Eurovision Song Contest; Eds. Gluhovic, Milija; Fricker, Karen. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2013, 111-125.

Dramaturgy and translation

2004 – Max Frisch. Biography – a Game, Atrium Players Theatre Company, Toronto.
2004 – Literary Consultant. Silvija Jestorvic's Not My Story. April Productions in Collaboration with Playwrights Guild Canada.
2003 – Literary Consultant. Brian Friel's Afterplay. Shaw Festival.
2003 – Anton Chekhov. Three Sisters. Adaptation Susan Coyne, Ed. Denis Johnston. Toronto : Canadian Scholars' Press.

Theatre Criticism

Meerzon, Y. “The Aeneid,” alt.theatre, September 13, 2016.http://alttheatre.ca/2016/09/13/yana-meerzon-reviews-the-aeneid-at-stratford-until-oct-4/

Meerzon, Y. “Creating Communities – Reflecting New Europe: “La nuit des taupes” (Welcome to Caveland) and “Web of Trust” presented at the Kunstenfestivaldesarts, Brussels”, Capital Critics Circle, May 9, 2016.http://capitalcriticscircle.com/creating-communities-reflecting-new-europe-la-nuit-des-taupes-welcome-to-caveland-and-web-of-trust-presented-at-the-kunstenfestivaldesarts-brussels/

Meerzon, Y. “Toshiki Okada’s “Time’s Journey Through a Room”, Capital Critics Circle, May 7, 2016. http://capitalcriticscircle.com/toshiki-okadas-times-journey-through-a-room/

Meerzon, Y. “Last Dream (On Earth): The Intimacy of the Impossible – The Truth of the Unimaginable”, Capital Critics Circle, April 26, 2016. http://capitalcriticscircle.com/last-dream-on-earth-the-intimacy-of-the-impossible-the-truth-of-the-unimaginable/

Meerzon, Y. “Reikiavik by Juan Mayorga: The Game of Chess”, Capital Critics Circle, April 26, 2016. http://capitalcriticscircle.com/reikiavik-is-juan-mayorgas-optimistic-answer-to-becketts-game-of-chess/

Meerzon, Y. “Thomas Ostermeier’s Richard III is a loveable, evil monster”, Capital Critics Circle, April 24, 2016. http://capitalcriticscircle.com/thomas-ostermeiers-richard-iii-as-a-loveable-evil-monster/

Theatre Criticism - Debate

In the Fall of 2015, I taught a special class on Theatre Criticism (THE 4333) and organized a debate on the topic of writing theatre criticism in the era of digital communication.

This debate took place on November 20, 2015 at the University of Ottawa, Department of Theatre. It featured Patrick Langston (The Ottawa Citizen), Brianna McFarlane (New Ottawa Critics, an association of emerging theatre journalists) and Kate Fournier (Capital Critics Circle). Dr. Joël Beddows was the moderator of this event.

Premise of this discussion

Today theatre criticism faces many challenges: in the era of open internet writing the practice of theatre criticism in Canada and worldwide is rapidly changing. It becomes more experimental, reflecting the style of journalistic blogosphere not mainstream criticism currently published in official newspapers and magazines. Who is a true benefactor of such criticism – is it general public, theatre companies, individual artists, or writers/bloggers/critics themselves, who often use digital writing to express their personal opinion in public, often not in the forms of professional theatre criticism but as self-promotion?

Fields of Interest

  • Theory of drama and performance
  • Theatre criticism
  • Theatre of exile and migration
  • Cultural and interdisciplinary studies
  • Russian drama and theatre
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