Assistant Professor, Theatre and Performance Studies
Associate Director, The Center for Translation Studies
Institute for Comparative Literature and Society
Ph.D. Program in Theatre Studies
Professor Hana Worthen teaches courses related to her research on performative cultures and totalitarianisms, nationalist rhetoric and the Holocaust, European drama, theatre and performance studies, censorship and the arts, and dramaturgy.
She inaugurated and curates the Department of Theatre series of occasional talks by artists and scholars, Stages of Inquiry.
Professor Worthen's work has been published in major theatre and performance studies journals and she has received awards from several prestigious international institutions, including the DAAD, the Czech Academy, the Finnish Academy, the Finnish Cultural Foundation, and the Mellon Foundation.
Research for her new book, tentatively entitled Theatre of Humanisms, has received support from the International Research Center "Interweaving Performance Cultures" at the Free University Berlin, where she has been appointed as a Fellow for the 2013-2014 academic year.
- Drama, Theatre, Theory
- Dramaturgy (Theory)
- Politics of Performance (PhD seminar)
- Theatre and Democracy
- Performative Cultures of the Third Reich
- Nazism in Performance
- Communism/Socialism in Performance
- Bertolt Brecht: The Making of Theatre
- Western Theatre Traditions
- Reviewed: Heinrich Anselm, Modern Language Review 104 (2009): 1181-83.
- Reviewed: Joachim Mickwitz, Historisk tidskrift för Finland 4 (2007): 551-553.
"Introduction: Contesting the Silences of History." With Simo Muir. Finland's Holocaust: Silences of History. Ed. Simo Muir and Hana Worthen. Basingstoke: Palgrave Macmillan, 2013.
"Towards New Europe: Arvi Kivimaa, Kultur, and the Fictions of Humanism." Finland's Holocaust: Silences of History. Ed. Simo Muir and Hana Worthen. Basingstoke: Palgrave Macmillan, 2013.
"Kristian Smeds's Countergeographies of Theatre." TheatreForum (July 2012): 56-65 .
“Dramaturgy of Desire, Ethics of Illusion in Kristian Smeds’s Mr Vertigo.” Contemporary Theatre Review 22:3 (August 2012): 400-11.
"'Finland is dead, dead, dead': Ethics and National Identity in Kristian Smeds’s The Unknown Soldier." TDR: The Drama Review 56.2 (Summer 2012): 34-55.
"'Humanism,' Scenography, Ideology: Antigone at the Finnish National Theatre, 1968." Antigone on the Contemporary World Stage. Ed. Helene Foley and Erin Mee. Oxford: Oxford University Press, 2011.
"The Deutsche Tanzfestspiele 1934 (December 9-16, Berlin): Ideology in Movement and a Movement in Ideology." With David J. Buch. Theatre Journal 59 (2007): 215-39.
"The Pillowman and the Ethics of Allegory." With W. B.Worthen. Modern Drama 49:2 (Summer 2006): 155-73.
"The Veil of Jinotaj: Nasková's Loviisa of Niskavuori and National Resistance at Prague's Provisional Theatre during the Protectorate." Modern Drama 45:4 (2002), 593-610.
Reviews (scholarly publications and performances)
Review of Matthew Causey and Fintan Walsh, Performance, Identity, and the Neo-Political Subject. Contemporary Theatre Review, 24:3 (August 2014): 400-402.
Review of Kristian Smeds, Vyšniu sodas-Der Kirschgarten, Wiener Festwochen, Macondo, May 2011. Theatre Journal 64:2 (2012): 273-75.
Review of Kristian Smeds, Mr Vertigo, Finnish National Theatre, October 2010. Theatre Journal 63:2 (May 2011): 253-255.
Review of Gerwin Strobl, Swastika and the Stage. German Theatre and Society. Theatre Survey 51:2 (2010): 314-316.
Review of Elizabeth Woods, Performing Justice: Agitation Trials in Early Soviet Russia. Theatre Survey 49:1 (2008): 154-156.
In the News
Essay collection examines how modern Finnish memory and the writing of history have engaged and evaded both the history of antisemitism in Finland.