| Title | Associate Professor |
|---|---|
| Department | English |
| Office | Meier Hall 102C |
| Phone | 978.542.6719 |
| michael.jaros@salemstate.edu | |
| Resume | Michael Jaros |
| EDU 875A | Directed Study |
|---|---|
| ENG 880 | Internship in College Pedagogy |
| ENL 110H | Freshman Honors Writing |
| ENL 245H | Literature and the Humanities |
| ENL 282 | World Drama |
| ENL 340 | Shakespeare I |
| ENL 380 | Modern Drama I |
| ENL 381 | Modern Drama II |
| ENL 485 | Seminar in Dramaturgy |
Michael Jaros received his PhD in Drama and Theatre from the University of California, San Diego in June of 2008, where he also worked as a dramaturg in the professional theatre training program as well as at the San Diego Repertory Theatre. His research focuses primarily on 20th century Irish culture in performance, as well as contemporary American drama. He also holds a MPhil from Trinity College, Dublin in Irish Theatre and Film, and an MA in Theatre History from the University of Texas at Austin. He primarily teaches dramatic literature, Irish literature, and composition, as well as in the English Graduate and SSU honors programs. He is currently the faculty advisor to Salem State's Student Theatre Ensemble (STE), and has also worked with the the SSU theatre department as a dramaturg.
In development – “Old Words into Something New: David Bowie, Enda Walsh and Last Works.”
In print:
“Unhappy is the Land That Needs a Hero: The Mark of the Marketplace in Suzan-Lori Parks’s Father Comes Home from the Wars, Parts 1-3.” Journal of American Drama and Theatre. Vol 33 no 1 (2020) Online.
With Robert I Lublin, “For God’s Sake, How do you Stop It? The Powers and Limitations of the Deadites.” The Many Lives of the Evil Dead: Essays on the Cult Film Franchise. Ed. Ron Reikki and Jeffrey Sartain. McFarland & Co, 2019. 120-130.
“Specters of Connolly: The Non-Stop Connolly Show Reconsidered. Devised Performance in Irish Theatre: Histories and Contemporary Practices. Dublin: Carysfort, 2016.
“Boxed Rituals: Eamon de Valera, Television, and Talbot’s Box.” The Rest is History: Ireland, Performance, and the Historical Imagination. Ed. Mary Caulfield and Christopher Collins. London: Palgrave, 2014.
“Image Makers and Their Discontents: Lady Gregory and the Abbey Theatre Audience.” Theatre Symposium. Vol. 20 (2012). 56-65
"Broken Narratives, Performing Ruins: Beckett, Yeats and the Dramatic Landscape of Catastrophe." Staging Thought: Essays on Irish Theatre, Scholarship and Practice. Ed. Rhona Trench. Oxford: Peter Lang, 2011. 205-218.
“Actor, Aura, Theatrical Event: The Aesthetics of the Pose and the Nostalgic Impulse.” Willmar in the World. Ed. Yael Feiler, Rikard Hoogland and Kalle Westerling. Stockholm: University of Stockholm, 2007. 29-40.
“When I am Laid in the Earth: Dido and Aeneas, Nahum Tate, and Anglo-Irish Consciousness.” Text and Presentation (2004): 35-44.
“Locating the True-Born Irishman: Patriotism, Nationalism, and Charles Macklin.” New Voices in Irish Criticism, Vol. 3. (Feb. 2002): 63-70.
Book reviews:
“Soyica Diggs-Colbert: Black Movements: Performance and Cultural Politics.” Theatre Research International. Vol. 43 no. 2 (2018) 236-237.
“Joan Fitzpatrick Dean: All Dressed Up: Modern Irish Historical Pageantry.” Comparative Drama. Vol. 50 no. 1 (2016). 93-96.
Dramaturgy:
The Weir by Connor MacPherson. Dir. William Cunningham. Salem State Theatre Dept, Fall 2009.
And Yet We Go On: An Evening of Beckett Shorts. Dir. Peter Sampieri. Salem State Theatre Dept. Fall 2015.
The Seagull by Anton Chekhov. Dir William Cunningham. Salem State Theatre Dept. Fall 2016.
Playwriting:
Up. Dir. Michael Jaros Salem Arts Festival Salem, MA, 2015
Chalk: A Play. Dir. Michael Jaros. Salem Arts Festival, 2014.