Dr. Wickstrom teaches at the Graduate Center/CUNY as well as at the College of Staten Island, where she is the Coordinator of the Drama Program in the Department of Performing and Creative Arts. Her background is as a director and as a creator of original work with the company she helped found, Zone West. Zone West was active for eight years in Manhattan, performing at key performance art spaces nationwide as well as in New York, where the company performed its initial piece at Franklin Furnace. In her work in the theatre, Dr. Wickstrom’s interests were in exploring new forms of performance combined with explorations of critical political questions. As a professor, both at the College of Staten Island, and at the Graduate Center, these interests remain central. Under her mentorship, the curriculum of the Drama Program at CSI has undergone significant changes in order to offer students access to not only to traditional kinds of theatre and theatre training such as acting, directing, design and applied theatre courses, but also classes in performance and live art, new performance, devising, visual theatrical imagination, adaptation, performance and identity in the 21st century, and a senior seminar, among others. At the Graduate Center, Dr. Wickstrom teaches courses such as Global Political Theatre; Ways of Looking: Spectacle, Politics and Affirmation; and Animals in Performance. She directs and serves on the committees of Ph.D. student dissertations. At CSI, she mentors students in a variety of projects, including in directing and performance. Dr. Wickstrom directs one mainstage production each year at CSI. Most recently she has directed Delirium (Enda Walsh), St. Joan of the Stockyards (Bertolt Brecht), and Streetcar Named Desire (Tennessee Williams).
B.A. 1981 Franklin and Marshall College
M.F.A. 1986 Tulane University
Ph.D. 2001 Graduate Center, City University of New York
Scholarship / Publications
Major publications include: Performance in the Blockades of Neoliberalism: Thinking the Political Anew, published in 2012 by Palgrave Macmillan in the Studies in International Performance Series, eds. Janelle Reinelt and Brian Singleton and Performing Consumers: Global Capital and its Theatrical Seductions (Routledge: 2006). Her most recent journal essays have been on the artist Cassils (in TDR) and the artist Thomas Hirschhorn (in Perfomance Research), both in 2014. She has published on the Occupy movement in Manifesto Now! Instructions For Performance, Philosophy, Politics, ed. Laura Cull and Will Daddario (Intellect: 2013). She has an essay, “Palestine and Political Invention” in Performance, Identity, and the Neo-Political Subject, eds. Fintan Walsh and Matthew Causey (Routledge: 2012). She also has contributed essays in Changing the Subject: Marvin Carlson and Theatre Studies, 1959-2009, ed. Joseph Roach (University of Michigan: 2009). Her articles have been published in The Drama Review, Theatre Journal, Modern Drama, Theatre Survey, Theatre Annual, Journal of Dramatic Theory and Criticism, and PAJ: A Journal of Performance and Art. Her current research and teaching interests include; performance and temporality, philosophy and performance with an emphasis on Alain Badiou, Giorgio Agamben and Jacques Ranciere; Palestinian politics and performance; global political theatre; animal studies; contemporary cultural, political, and performance theory; and neoliberalism and performance.